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; SALE NUMBER 2058 R 
"PUBLIC EXHIBITION FROM SATURDAY, APRIL TENTH 


RARE & IMPORTANT 


GOBELIN & FLEMISH TAPESTRIES 
_ FURNITURE, RUGS, NEEDLEWORK 
ARMS & BARYE BRONZES 
FROM THE COLLECTIONS OF 
‘MR. J. J. ALBRIGHT 


BUFFALO, N-Y. 
(EXHIBITED AT THE ALBRIGHT ART GALLERY) 


“nel SCHEREMIETIEV & BARON ROPP 


SOLD BY ORDER OF KIRA DE BELLAGIO 
PARIS, FRANCE 


SAMUEL W. WEIS 
CHICAGO, ILL. 
(EXHIBITED AT THE CHICAGO ART INSTITUTE 
& THE DELGADO MUSEUM OF ART) 


B.A. DENNISON Z SIMON JAMES SHWARTZ 
fe NEW YORK CITY NEW ORLEANS, LA. 


5 J. BUCHANAN’ —_ GEORGE BLAKE DEXTER, . | 
_ PITTSBURGH, PA. BOSTON, MASS. _ peas 
WILLIAM H. McGEE FREDERICK RIDER - cg eae 
_ NEW YORK CITY NEW YORK CITY 23. Ze ae 
MRS. JENNY HALBMAYR Se ho ee 
MARIENBAD, CZECHO SLOVAKIA =. RS a ee ee 
TO BE SOLD BY THEIR ORDER °F Se 


& Rs 
SELECTIONS FROM AN IMPORTANT _ 


FRENCH COLLECTION 
SOLD BY ORDER OF 
CHARLES D. MORGAN, ATTORNEY 

' PARIS, FRANCE 


ea TO BE SOLD BY AUCTION 
aes FRIDAY, SATURDAY AFTERNOONS 
x APRIL SIXTEENTH, SEVENTEENTH 


— TWO-THIRTY O° CLOCK 


- ‘THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, PresipenT |] 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1926 


Fraga 
pr Sra 


* b 


Leuasa Claws 


PRIA es Fad 


DIANA REJECTING OTUS 
RARE AND FINE GOBELIN TAPESTRY WOVEN IN 
PARIS ABOUT 1610 


[NUMBER 203] 


SALE NUMBER 2058 
PUBLIC EXHIBITION FROM SATURDAY, APRIL TENTH 


RARE & IMPORTANT 


GOBELIN & FLEMISH TAPESTRIES ae 
FURNITURE, RUGS, NEEDLEWORK  ¢ 
ARMS & BARYE BRONZES 
FROM THE COLLECTIONS OF IT 
Wily |b Ik ANE RCS Ap 
BUFFALO, N. Y. 
(EXHIBITED AT THE ALBRIGHT ART GALLERY) 


COUNT SCHEREMIETIEV & BARON ROPP 
SOLD BY ORDER OF KIRA DE BELLAGIO 
PARIS, FRANCE 


SAMUEL W. WEIS 
CHICAGO, ILL. 
(EXHIBITED AT THE CHICAGO ART INSTITUTE 
& THE DELGADO MUSEUM OF ART) 


E. A. DENNISON SIMON JAMES SHWARTZ 
NEW YORK CITY NEW ORLEANS, LA. 
JAMES J. BUCHANAN GEORGE BLAKE DEXTER 
PITTSBURGH, PA. BOSTON, MASS. 
WILLIAM H. McGEE FREDERICK RIDER 
NEW YORK CITY NEW YORK CITY 


MRS. JENNY HALBMAYR 
MARIENBAD, CZECHO SLOVAKIA 


TO BE SOLED BY ‘THEIR ORDER 
& 


SELECTIONS FROM AN IMPORTANT 


FRENCH COLLECTION 
SOLD BY ORDER OF 
CHARLES D. MORGAN, ATTORNEY 
PARIS, FRANCE 


TO BE SOLD BY AUCTION 
FRIDAY, SATURDAY AFTERNOONS 
APRIL SIXTEENTH, SEVENTEENTH 

AT TWO-THIRTY O'CLOCK 


THE ANDERSON GALLERIES” LASOSS 


[MITCHELL KENNERLEY, Presipent ] 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1926 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 

The highest bidder to be the buyer. In all cases of disputed bids the decision 
of the Auctioneer shall be final. 

Buyers to give their names and addresses and to make such cash payments on 
account as may be required, in default of which the lots purchased shall be 
resold immediately. 

Purchases to be removed at the buyer’s expense and risk within twenty-four 
hours from the conclusion of the sale, and the remainder of the purchase money 
to be paid on or before delivery, in default of which The Anderson Galleries, 
Incorporated, will not be responsible for any loss or damage whatever, but the 
lot or lots will be left at the sole risk of the purchaser, and subject to storage 
charges. 

All lots will be placed on public exhibition before the date of sale, for examina- 
tion by intending purchasers, and The Anderson Galleries, Incorporated, will 
not be responsible for the correctness of the description, authenticity, genuine- 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 

If accounts are not paid and purchases removed within twenty-four hours of the 
conclusion of the sale, or, in the case of absent buyers, when bills are rendered, 
any sum deposited as part payment shall be forfeited, and The Anderson Gal- 
leries, Incorporated, reserve the right to resell the lot or lots by either private 
or public sale, without further notice, and if any deficiency arises from such 
resale it shall be made good by the defaulter, together with all expenses in- 
curred. ‘This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such 
resale, at its own option. 

The Anderson Galleries, Incorporated, will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 

The Anderson Galleries make no charge for executing orders for their cus- 
tomers and use all bids competitively, buying at the lowest price permitted 
by other bids. 


A Priced Copy of this Catalogue may be obtained for Two Dollars 
THE ANDERSON GALLERIES, INC. 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
TELEPHONE REGENT 0250 CATALOGUES ON REQUEST 


SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON 


SALE FRIDAY AFTERNOON, APRIL SIXTEENTH, AT TWO-THIRTY 


FIRST SESSION 


NUMBERS 1-124 


1 OLD CARVED ROSEWOOD TEA CADDY 
Mantel ornament with mirrored glass front and carved spiral corner 
pilasters. (Dennison) Height, 12 inches 


2 SEVEN SMALL CHINESE PAINTINGS KANG HSI 
In album form, depicting landscapes, figure subjects and flower 
subjects. In wood folder. (Dennison) (7) Size, 18 x 13 inches 


3 BRASS BANDED MAHOGANY CELLERETTE 
ENGLISH, 18TH CENTURY 
Oval, with brass lion mask handles at the sides; on stand with square 
legs. Pewter liner. (Dennison) Height, 24 inches; width, 27 inches 


4 MAHOGANY NIGHT COMMODE ENGLISH, 18TH CENTURY 
Hinged tray top, serpentine front and square supports. (Dennison) 
Height, 30 inches; width, 22 inches 


5 MAHOGANY BOOKSTAND ENGLISH, ABOUT 1800 
Stand of open shelves with small cupboards in the base. Defective. 
(Dennison) Height, 4 feet 6 inches; width, 32 inches 


6 SMALL STRIKING WALL CLOCK BY STEPHEN WOGDEN, 
GREENWICH ENGLISH, ABOUT 1720 
The domed black lacquer case gilded with Chinese figures and flowers. 
Chased dial with cherub-head corner mounts and engraved with the 
maker’s name. (Dennison) Height, 14 inches; width, 8 inches 


7 INLAID HAIRWOOD DWARF COMMODE 
ENGLISH, 18TH CENTURY 
Semi-circular shape. Enclosed by two doors with small drawer 
above. On short stump feet. The front and top panel with line 
inlay of satinwood and rosewood. (As is) (Dennison) 
Height, 32 inches; width, 30 inches 


MAHOGANY DRESSING GLASS 
ENGLISH, ABOUT 1780 


[NUMBER 8] 


8 INLAID MAHOGANY DRESSING GLASS ~— ENGLISH, ABOUT 1780 
Swing mirror with curved top, on base fitted as escritoire with slant 
writing flap enclosing drawers; another drawer beneath. Mahogany 
banded in tulipwood and ebony. Small ogee bracket feet. (Dennison) 

Height, 40 inches; width, 21 inches 


[SEE ILLUSTRATION ] 
2 


SMALL MAHOGANY WRITING TABLE 
ENGLISH, ABOUT 1790 


[NUMBER 9] 


9 LADY’S MAHOGANY WRITING TABLE ENGLISH, ABOUT 1790 
Charming piece in blond mahogany which retains the original finish. 
Serpentine front fitted with three small drawers. Stands on tapered 
and fluted legs with turned feet. (Dennison) 

Height, 30 inches; width, 33 inches 


[SEE ILLUSTRATION ] 
3 


10 


11 


12 


13 


14 


SIX OLD BRETON CARVED OAK WAINSCOT CHAIRS 
The square backs carved with rosettes and strap work in different 
designs. Solid seats and braced square supports. (Dexter) (6) 


PINE AND MAPLE TAVERN TABLE AMERICAN, ABOUT 1700 

Heavy original pine top. Sturdy ring turned legs braced by high 

and low stretchers. A drawer in the scrolled apron. (Albright) 
Size of top, 41 x 24 inches 


INLAID MAHOGANY CONSOLE TABLE ENGLISH, ABOUT 1790 
Console or card table. Solid mahogany banded and inlaid in rose- 
wood and satinwood. Semi-circular fold-over top lined with green 
baize. Four tapered square supports with spade feet, one pivoted to 
support the fold-over leaf. (Dennison) Diameter of top, 42 inches 


SEVENTEENTH CENTURY BRITTANY CARVED SETTLE 

Fireside or porch settle from an old inn. The canted back pierced 
in baluster fashion; sturdy square legs with heavy brace. Solid 
seat. (Dexter) Length, 64 inches 


TWO HEPPLEWHITE MAHOGANY SIDE CHAIRS 

ENGLISH, 18TH CENTURY 
Graceful models designed in the Louis Quince taste with shaped 
and carved shield backs; on carved cabriole supports. (Resold for 
account of purchaser) (2) 


15 


LION WALKING 
BY ANTOINE LOUIS BARYE 


[NUMBER 15] 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Lion Walking’. The finest and most popular of Barye’s works. 
Reminiscent of the famous Assyrian bas reliefs. Bronze cast by 
Barbedienne. Signed ‘‘Barye” on the fore part of the base. (Weis) 
Height, 914, inches; width, 16 inches 


See illustration in Roger Ballu’s “‘L’Oeuvre de Barye’’, page 130. 
Exhibited at the Chicago Art Institute. 


[SEE ILLUSTRATION ] 
5 


16 


17 


cg pecs Setemmne ns eitsiz— xem eeaaeeamammitaany: 


BOAR ATTACKED BY HOUNDS 
BY P. J. MENE 


[NUMBER 16] 


BRONZE GROUP BY P. J. MENE FRENCH, 1802-1875 
“Boar Attacked by Hounds”. A group of four hounds have sur- 
rounded and are bearing to the ground a full grown wild boar 
which, in its death fight, has managed to administer the coup de 
grace to one of its adversaries. Very fine realistic and rugged 


sculpturing of a motif so well portrayed by the great Dutch master, 


Franz Snyders. Signed “P. J. Mene” on the rocky oval base. (Weis) 
Height, 1014 inches; width, 181% inches 


[SEE ILLUSTRATION | 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Lion Devouring a Gazelle’. A magnificent full grown recumbent 
lion, the inert body of a gazelle beneath his fore paws, gives vent 
to a roar of satisfaction. Signed on the oblong base. Very fine 
mass modelling. Height, 434, inches; length, 1014 inches 


6 


18 


i) 


20 


21 


22 


23 


SMALL BRONZE BY T. MOIGRIEY 
“Seated Fox”. Finely modelled small figures. Signed on the circular 
base. (Weis) Height, 234, inches 


Exhibited at the Delgado Museum of Art, New Orleans, La. 


SMALL BRONZE BY A. CAIN 
“Crowing Rooster’, perched on a basket. Signed “A. Cain”. (Weis) 
Height, 7 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


HERALDIC TAPESTRY PANEL AUVERGNE, 17TH CENTURY 
The centre occupied by the supporters—two winged cherubim with 
cranes at their backs holding a coronet forming a reserve with 
their outstretched hands. The centre, an elephant carrying a quar- 
tered armorial bearing on a banner tied to his body. To the right 
and left, lions’ grotesques with fleur-de-lys bodies. The represen- 
tations are woven in golden tans, crimsons and heightenings of other 
tones on a brilliant sky-blue ground. 

Length, 37 inches; width, 22 inches 


NEEDLEWORK STOLE FRENCH, LATE 17TH CENTURY 
Worked in point de chainette in multicolored formal silk flowers and 
leaves on an intricately meandered cream colored ground. Golden 
brown and rose colored ribband border of point de chainette. 
Length, 8 feet 2 inches 


UNUSUAL SAMPLER OF POINT DE HONGRIE NEEDLEWORK 
ENGLISH, 1775 

Brilliantly colored silk embroidery worked in bold diaper pattern 
of black outline. Meandered fields in rainbow tints with brilliant 
yellows and orange predominating. Signed and dated “SW, 1775.” 
Size, 16 x 614 inches 


FINE SPANISH SEVENTEENTH CENTURY BROCADE PANEL 
A church hanging or coverlet with fine deep border of flowers on old 
ivory ground. Soft gray centre with similar flowers. Gold thread 
borders and fringe. A cross at each corner. (Dexter) 

Size, 68 x 58 inches 


24 


RARE TAPESTRY EMBROIDERIES 
ENGLISH, ABOUT 1700 


[NUMBERS 24 AND 25] 


TAPESTRY EMBROIDERY ENGLISH, ABOUT 1700 
Worked in silks and wools in an endeavor to simulate tapestry. 
Oblong panel; the centre a walled Tudor castle with duck filled 
moat and outhouses. To the right and left a goatherd and a 
shepherdess with their flocks among fruit laden trees with birds 
perched upon their branches, and with background of a church, tree 
crested hills and a castle. The tones are predominately blue-green 
and apple-green with brilliant heightenings of the goatherd’s scarlet 
coat, the scarlet of flowers and fruit and the deep rose of the brick 
covered houses. There are some unfinished parts interestingly 
showing the method of working. Size, 4534, x 838 inches 


[SEE ILLUSTRATION ] 


TAPESTRY EMBROIDERY ENGLISH, ABOUT 1700 
In workmanship similar to preceding. The right is occupied by a 
delightful composition of an arbor in three parts resting on two 
tiers of stone balustrades. It has green grown domes. The centre 
faced by a Renaissance fountain, two arbors flanking, with two 
young couples in Stuart costumes facing the onlooker. To the left 
a cluster of houses, a water mill with pond and water birds, and 
screening the spectacle, fruit laden trees and a lone palm tree. 

Size, 3814 x 83% inches 

[SEE ILLUSTRATION] 


8 


26 


27 


28 


29 


30 


31 


o2 


ANTIQUE SILK EMBROIDERED BED SPREAD 

ENGLISH, 18TH CENTURY 
Fine embroidery of Persian palmettes and conventional flower 
medallions in colored silks on a linen background. (Dennison) 


EIGHTEENTH CENTURY NEEDLEWORK FIRE SCREEN 

Rectangular mahogany frame on trestle supports. Mounted with a 
fine panel of petit point needlework depicting a pastoral scene with 
figures in the grounds of a country mansion. The frame repaired. 
(Dennison) Height, 57 inches; width, 22 inches 


SLANT-TOP DESK OF APPLEWOOD ENGLISH, 18TH CENTURY 
Fitted interior of pigeonholes and small drawers with ivory knobs 
enclosed by a slant writing flap. Four long drawers in the body 
fitted with wood knobs which are of a later date. (Dennison) 
Height, 41 inches; width, 34 inches 


PAIR OF OLD VIENNA PORCELAIN STATUETTES OF POMONA 
AND FLORA AUSTRIAN, ABOUT 1780 
Draped figures, Pomona at the side of a baroque socle on which 
rests a fruit filled bowl, at her feet a crouching simian. Flora 
is flanked by a rectangular socle with a sacrificial urn, at her feet 
crouching a hunting dog. Invested with a brilliant white glaze, the 
flesh tints naturalistically enamelled. The socles slightly chipped. 
(2) Height, 10 inches 


MAPLE SECRETARY PENNSYLVANIA, 1800 
Richly figured golden maple. Fitted upper part enclosed by a pair 
of panelled doors with three small drawers below. Lower body 
equipped with three long drawers and fold-over writing flap. Spiral 
pilasters at the corners. Sturdy turned and tapered legs with Dutch 
feet. (Albright) Height, 6214 inches; width, 391% imches 


SET OF SIX ITALIAN SEVENTEENTH CENTURY LADDER- 
BACK CHAIRS 

High backs with three curved slats and acorn finials to the slender 
posts. Trumpet turned legs in the William and Mary style, braced 
by scrolled X stretchers ornamented with turned central finials. 
Upholstered seats. (Dexter) (6) 


GROUP OF OLD ZURICH PORCELAIN SWISS, ABOUT 1780 
Two youths, a maiden in fleuretted garments kneeling on a green 
with her youthful companion about to catch a butterfly with his 
brilliant emerald green hat. Soft metallic cream glaze with traces 
of ‘copper resist.” Height, 7 inches 


RARE QUEEN ANNE WALNUT SETTEE 
ENGLISH, ABOUT 1710 


[NUMBER 33 


33 QUEEN ANNE WALNUT SETTEE ENGLISH, ABOUT 1710 
High triple chair back with vase shaped splats, curved crest rails; 
voluted arms and cabriole legs with pad feet. Slip seat covered with 
crimson velvet. Graceful and rare piece. (Dexter) Width, 70 inches 


[SEE ILLUSTRATION ] 


10 


34 TWO BOTTLES OF JACOB PETIT PORCELAIN 
PARIS, ABOUT 1800 
A very uncommon pair in the Oriental taste representing musicians. 
The maiden, a lute player in brilliant white garments enriched with 
gold; the male musician holding a flute of Pan. The heads natural- 
istically painted act as stoppers. The figures are seated in the 
Oriental fashion on fleuretted tasselled floor cushions. (2) 
Height, 71 inches 


35 TWO CARVED ALABASTER AMPHORAE 
ENGLISH, 18TH CENTURY 
Tall bulbous bodies furnished with boldly modelled ram’s head 
handles. The necks with rosetted ribbands and other members with 
acanthus. On both sides are figure groups carved in bas relief taken 
from Greek mythology. Wooden covers of later addition. (2) 
Height, 36 inches 


11 


SYRIAN SEVENTEENTH CENTURY IRONWOOD CHEST 
FROM THE DEXTER COLLECTION 


[NUMBER 36] 


36 SYRIAN SEVENTEENTH CENTURY CARVED AND INLAID 
IRONWOOD CHEST 
Of hard dark colored wood similar to ebony. The front panel 
magnificently carved in colonnade pattern, each niche containing a 
conventionalized “tree of life’. This is heightened with a rich inlay 
of mother-of-pearl representing typical Oriental pointed palmettes, 
star motifs and meander borders. Stands on high bracket supports 
similarly inlaid. (Dexter) Height, 38 inches; width, 54 inches 


An entertaining narrative by Dexter in his “The Lure of Amateur 
Collecting’ tells of his quest for these interesting and rare old Syrian 
chests and of their being placed on exhibition in the Boston Museum 
of Fine Arts as part of the George Blake Dexter collection. 


[SEE ILLUSTRATION | 


12 


37 


38 


39 


40 


SEVENTEENTH CENTURY CARVED ARABIC IRONWOOD 

CHEST 

Same shape as the preceding chest, but larger. The whole front 

richly carved with a geometrical flower pattern similar to the Arabic 

needlework designs. Hinged top and high bracketed base. (Dexter) 
Height, 36 inches; width, 57 inches 


PINE AND MAPLE TAVERN TABLE 

AMERICAN, EARLY 18TH CENTURY 
Framed overlapping pine top. Slender tapered and partly turned 
supports braced by plain stretchers. A drawer in the front. 
(Albright) Size of top, 40 x 25 inches 


WILLIAM AND MARY HIGHBOY ENGLISH, ABOUT 1690 
Of oyster walnut with inlaid marqueterie forming oval medallions 
on the top and the fronts of the two small and three long drawers. 
The stand with two small drawers and trumpet turned legs braced 
by curved stretchers. (Dennison) Height, 52 inches; width, 33 inches 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Lion of the Louvre” (called the Philosopher). Strikingly modelled 
figure of a full grown crouching male lion, gazing straight before 
him. Rugged modelling expressing strength in repose. Antique 
green patina. Signed on the oval base. 
Height, 1414 inches; length, 1134, inches 


13 


Al 


TIGER KILLING A FAWN 
BY ANTOINE LOUIS BARYE 


[NUMBER 41] 


BRONZE GROUP BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Tiger Killing a Fawn’. A powerfully modelled group showing a 
muscular full grown tiger which has seized a fawn and is devouring 
it. The mortal agony and relentless power expressed by the two 
animals is typical of Barye’s most vigorous mood. Signed on the ~ 
fore part of the rocky base. Antique greenish patina. Mounted on 
wood plinth. (Weis) Height, 1414 inches; width, 20 inches 


Exhibited at the Chicago Art Institute. 
[SEE ILLUSTRATION | 
14 


42 


TERRA COTTA FIGURE 
BY ANTOINE LOUIS BARYE 


[NUMBER 42] 


TERRA COTTA FIGURE BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
Standing figure of a monk or friar in jovial attitude, feet apart, the 
head inclined to the left, the hands clasped behind the back. On 
moulded plinth. (Weis) Height, 814, inches 


This rare figure is illustrated in Roger Ballu’s “L’Oeuvre de Barye’’, 
page 93, entitled “Fou de Rome’’. 
Exhibited at the Delgado Museum of Art, New Orleans. 


[SEE ILLUSTRATION | 
15 


BRONZE LION AND CAT 
BY ANTOINE LOUIS BARYE 


[NUMBERS 167 AND 43] 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Seated Cat’. Ranks as one of the master’s finest works, the 
modelling of the small figure expresses the subtleness and mystery 
attaching to all animals of the feline tribe. Signed on the rugged 
base. On green marble plinth. (Weis) 
Height, 334, inches; width, 314, inches 


See Illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 123. 
Exhibited at the Chicago Art Institute. 


[SEE ILLUSTRATION ] 
16 


44 


45 


46 


47 


48 


49 


50 


51 


SMALL BRONZE BY P. J. MENE FRENCH, 1802-1875 
“Pecking Hen”. Signed ‘“P. J. Mene” on the oval base. (Weis) 
Height, 31% inches; width, 41% inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


SMALL BRONZE ANIMAL BY P. J. MENE FRENCH, 1802-1875 
“Seated Hare’. Another exquisite small figure by this eminent 
French animal sculptor. Signed “P. J. Mene” on the oval base. On 
wood plinth. (Wevs) Height, 314, inches; width, 334, inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


BRONZE FEMALE MASK AFTER THE ANTIQUE 
Mounted on tapered square plinth of porphyry. (Solano) 
Height, 17 inches 


PAIR OF DUELLING PISTOLS, IN CASE FRENCH, CIRCA 1830 
Finest quality, damascus steel barrels with the name “Piset Robert 
Bte. a Paris”, inlaid in gold. In brass banded rosewood case, with 
tools. (Shwartz) 


PAIR OF GILDED BRONZE STIRRUPS ITALIAN, 17TH CENTURY 
For state or ceremonial use by a high personage. High oval sun- 
burst shape instep guards. The sides richly decorated with military 
trophies and flowers. Rare. (Shwartz) (2) Height, 9 inches 


FALCHION FRENCH, LOUIS XIV PERIOD 
Short cutlass-like sword probably of an officer of engineers. Heavy 
brass cross hilt surmounted by a cock, the bar hilt decorated with 
lion and basilisk masks. Curved blade with saw back. Original 
brass mounted leather scabbard. (Shwartz) Length, 36 inches 


EXECUTIONER’S AXE FRENCH, 18TH CENTURY 
Wide head with milled brass edge guard. Inscribed “Me DUMONT 
A LA Gde. Nle. DE We LE ROI’. Original wood shaft with brass 
hilt. Rare. (Shwartz) Length, 37 inches 


BALKAN SHORT BLUNDERBUSS CIRCA 1800 
Two-fire flintlock. Wood stock and butt richly decorated with silver 
pique work and gilt metal mounts profusely chased with military 
trophies. The barrel has the word “London” inlaid in gold, a sign 
of the prestige enjoyed by English gunsmiths of that period. 
(Shwartz) Length, 26 inches 


17 


52 


53 


54 


55 


56 


57 


58 


59 


SMALL FLINTLOCK PISTOL ENGLISH, CIRCA 1810 
Pocket pistol in good condition. (Shwartz) Length, 6 inches 


TWO ORIENTAL FLINTLOCK PISTOLS PERSIAN, 18TH CENTURY 
One richly mounted in chased silvered metal; the other with chased 
brass mounts. (Shwartz) (2) 


DUTCH EIGHTEENTH CENTURY OFFICER’S NAVAL CUTLASS 
Heavy blade engraved, “Vive la Patrie. Mivan Mouta Gu a Gand”. 
Brass half basket hilt; decorated with an eagle, a coronet above. 
(Shwartz) Length, 35 inches 


OLD JAPANESE WALL GUN 
Heavy bronze barrel decorated with a sacred dragon in chisel work 
heightened with gold inlay. (Shwartz) Length, 40: inches 


BERBER SNAPHAUNCE 18TH CENTURY 
Wide butt mounted with heavy ivory plaque. Long barrel and 
leather covered stock decorated with repousse and engraved silver 
mounts. (Shwartz) Length, 73 inches 


ARTILLERY OFFICER’S SWORD FRENCH, 1ST CONSUL PERIOD 
In fine state of preservation. Handle and scabbard richly mounted 
in chased ormolu. Blade with gold inlay of flowers and trophies. 
Has the original gold braid tassel. (Shwartz) Length, 39 inches 


SMALL CROSSBOW OR PRODD SWISS, 18TH CENTURY 

In good condition with the original platted twine stem. Carved 

walnut butt with ivory and mother-of-pearl inlay. (Shwartz) 
Length, 22 inches 


IMPORTANT VERDURE TAPESTRY 

FLEMISH, LATE 17TH CENTURY 
A fine longitudinal panel in excellent state of preservation. Com- 
posed of a landscape with birds, and architecture in rich blue-green 
and golden yellow foliage. The foreground with densely covered 
bushes. The perspective and the scale of detail is exceedingly well 
handled. Original complete border of bow-knotted floral clusters 
on a dark brown ground. Size, 9 x 16 feet 


18 


60 


61 


RARE NEEDLEWORK COVER 
[NUMBER 60] 


IMPORTANT NEEDLEWORK COVER FRENCH, ABOUT 1700 
The centre a naive conception of Adam and Eve represented as two 
children fully attired in Louis Quatorze costumes running from 
Paradise with the fatal fruit in their hands, while God the Father, 
represented as a King with a King’s crown looks on from behind a 
barrier. Above the image of Phaeton on his chariot and a youth 
holding an apple. To the right a turretted hunting lodge and a 
fruit laden tree with a bird. Some details worked in petit point 
of silk. Handsome borders of birds and arabesque volutes in scarlet, 
blue and tan on a black ground. Size, 29 x 26 inches 


[SEE ILLUSTRATION] 


LARGE NEEDLEWORK PANEL FRENCH, ABOUT 1720 
The centre, a chinoiserie motif worked in the finest petit point: a 
maiden in crimson Oriental robes playing a Santir (Dulcimer) to 
the company of two singers at her side, a lady in blue with flowered 
headdress and a man in crimson with turban—in a reserve filled with 
intricately worked floral patterns. Framework of baroque Indo- 
Persian arabesques in blue, scarlet, tan and silver-gray on a dark 
brown ground. Length, 331% inches; width, 27 inches 


19 


62 
t 


63 


64 


65 


IMPORTANT LOT OF OLD CRIMSON AND GOLD BROCATELLE 

ITALIAN, ABOUT 1650 
Composed of 23 yards, 734, inches; each length with bold floral 
arabesques and volutes in a brilliant crimson on a gold colored 
ground in repeating patterns. 


KHORASSAN MEDALLION RUG PERSIAN 
The field sustains a handsome large peony medallion with deep blue 
and “stone-green” ground, filled with radiating blossoms and leaves 
in brilliant shades of yellow and red. The corners of the field are 
bright red with similar flowers. Five borders of rosettes and vines 
in soft colors. (McGee) Size, 11 feet 4 inches x 7 feet 6 inches 


LARGE INDIAN RUG: 

Thick weave. The field of shaded blue sustains an all-over pattern 
of floral palmettes on meander vines and numerous small flower 
forms:in beautiful pastel shades, ivory-yellow and amethyst predom- 
inating. Three borders, the main one with similar design on pale 
yellow ground. A handsome rug. (Rider) Stzé, 15 xe 2ece 


EIGHTEENTH CENTURY TYROLEAN CARVED CHEST 
The front handsomely ornamented with shaped mouldings forming 
panels containing carved urns of flowers. High bracket supports 
also carved with flowers and with the date 1735. Original lock and 
large key. Fine mellow color. (Dexter) 

Height, 28 inches; width, 49 inches 


20 


66 


FINE GEORGIAN SOLID MAHOGANY DINING TABLE 
[NUMBER 66] 


GEORGIAN MAHOGANY OVAL DINING TABLE 
ENGLISH, LATE 18TH CENTURY 
Comprising a pair of segmental shape tables which join together 
and form a circular table and with the addition of an extra leaf 
at the centre makes an oval table. Stands on eight boldly turned, 
fluted and tapered legs with brass cap and castored feet. A detach- 
able dumbwaiter or plate tray stands on the centre. At intervals 
around the bevelled edge of the top are pulls. Fine quality solid 
mahogany. (Buchanan) 
Width of top, 68 inches; with extra leaf, 931 inches 


[SEE ILLUSTRATION] 
Al 


67 


INLAID HAIRWOOD CONSOLE TABLE 
EIGHTEENTH CENTURY 


[NUMBER 67] 


EIGHTEENTH CENTURY CONSOLE TABLE OF INLAID HAIR- 

WwooD 

Banded in rosewood and tulipwood and with fine marqueterie inlay 

of diaper ornament and rosettes in medallions. Folding semicircular 

top lined with red baize. On four tapered square legs with brass 

feet. (Dennison) Width, 4 feet 
[SEE ILLUSTRATION ] 


22 


68 


MAGNIFICENT WILLIAM AND MARY WING SOFA 
PETIT POINT NEEDLEWORK COVERING 


[NUMBER 68] 


VERY FINE WILLIAM AND MARY WINGED SOFA COVERED 
IN PETIT POINT NEEDLEWORK 
The high shaped back, winged sides and loose seat cushion covered 
with needlework showing a sumptuous design of flowers and leaves 
surrounding four shaped oval medallions; two on the back contain 
figures of a seventeenth century gallant and lady, two on the seat 
show plumage birds under flower branches, worked in fine petit point 
and gros point, in rich colors. Stands on square baluster front legs 
braced by pierced and carved scrolled stretchers. A magnificent 
piece. (Albright) 

Height of back, 3 feet 10 inches; width of seat, 5 feet 


[SEE ILLUSTRATION ] 


23 


69 


70 


TOA 


OLD ENGLISH CARVED OAK BIBLE BOX 
JACOBEAN OAK GATELEG TABLE 


[NUMBERS 69 AND 70] 


CARVED OAK BIBLE BOX ENGLISH, 17TH CENTURY 

Bible or desk box with slant hinged lid. The front carved with the 

initials “M. R.” and date 1674 above a band of hollow flutes. Rare. 

(Dexter) Size, 27 x 25 4nenes 
[SEE ILLUSTRATION | 


JACOBEAN OAK GATELEG TABLE ENGLISH, 17TH CENTURY 
One gate supporting a wide single drop leaf. Sturdy club and ball 
turned legs braced by heavy stretchers. Partly restored, drawer at 
one end. Rare. (Dexter) Size of top, 45 x 41 inches 


[SEE ILLUSTRATION |] 


MAHOGANY LIBRARY BOOKCASE ENGLISH, ABOUT 1800 
With open shelves above; cupboard base with recess centre. Fluted 
Sheraton pilasters at the corners. Also original brass mountings. 

Height, 8 feet 6 inches; width, 6 feet T inches 


Originally made for Lord Canterbury in whose possession it remained 
until a short time ago. 
Companion to the following bookcase. 


24 


70B MAHOGANY LIBRARY BOOKCASE ENGLISH, ABOUT 1800 


ol 


Companion to the preceding bookcase. 
Height, 8 feet 6 inches; width, 6 feet 7 inches 


Originally made for Lord Canterbury in whose possession it re- 
mained until a short time ago. 


TIGER ATTACKING A STAG 
BY ANTOINE LOUIS BARYE 


[NUMBER 71] 


BRONZE GROUP BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Tiger Attacking a Stag’. A magnificent group doubly signed by 
the sculptor, once in the casting and once after the casting and also 


numbered; it is therefore an artist’s proof. A full grown stag is 


being borne to the ground by a muscular tiger, which has driven its 
fangs into the stag’s neck. This group is sometimes referred to as 
the panther attacking a stag. Stands on oval wood plinth. (Weis) 

Height, 141% inches; width, 2114 inches 


See illustration in Roger Ballu’s ‘“L’Oeuvre de Barye’’, page 68. 
Exhibited at the Chicago Art Institute. 


[SEE ILLUSTRATION | 


25 


73 


74 


75 


76 


CARVED OAK LINEN FOLD COFFER FRENCH, 15TH CENTURY 

The front divided into three panels of fine linen fold carving. Very 

simple but refined type. The hinged lid is modern. (Dexter) 
Height, 30 inches; width, 50 inches 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Jaguar Walking”. Magnificent muscular animal, the fine modelling 
showing the suppleness of the body and lightness of tread. On rustic 
base. Reddish-brown antique patina. In the master sculptor’s — 
rugged style. Signed. Height, 5 inches; length, 9 inches 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Reclining Panther’. The head raised, its prey between its fore 
paws, the hind legs drawn under the body. Finely modelled figure 
with brown antique patina. Signed on the oval base. Mounted on 
oblong slab of polished black marble. 
Height, 234, inches; length, 714, inches 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Hart Running’. Lithesome animal speeding through tall grass. 
Signed on the oval base. Fine delicate modelling and greenish antique 
patina. Height, 5 inches; width, 614, inches 


PAIR OF SILVER SALTCELLARS IN THE LOUIS SEIZE TASTE 

VIENNA, ABOUT 1810 

Shaped as Greek altars on tripods of snake bodies with leaf tail 

crestings; incurved three sided bases with antefix and acanthus on 
a reeded ground. (Halbmayr) (2) 

Height, 334, inches; weight about 7 ounces 


26 


17 


78 


79 


80 


81 


PAIR OF SILVER SALTCELLARS IN THE LOUIS SEIZE TASTE 

VIENNA, DATED 1817 
Designed as Greek altars on converging serpent body supports with 
marguerite flower cresting. Finely reeded bowls and circular bases. 


(Halbmayr) (2) Height, 31% inches; weight about 7 ounces 


PAIR OF SILVER SALTCELLARS IN THE LOUIS SEIZE TASTE 

VIENNA, DATED 1817 

Formed as Greek altars on three S scrolled supports on moulded 
bases. Initialed “J. M.” (Halbmayr) (2) 

Height, 314, inches; weight about 7 ounces 


SILVER SALTCELLAR IN THE LOUIS SEIZE TASTE 
VIENNA, DATED 1807 
Boat shape body with twisted handles, on moulded and pointed 
oblong base. (Halbmayr) 
Height, 41% inches; weight about 31% ounces 


PERSONAGE TAPESTRY FLEMISH, LATE 17TH CENTURY 
The Story of Orpheus and Eurydice. The centre composition occupied 
in the foreground by a life-size figure of the youthful Orpheus with 
a wreath of oak leaves in his curling hair. He is dressed in armor 
and carries a shepherd’s stick with an emblematic arrow at its end. 
In the right background, the fading figure of Eurydice followed by 
the crowds of the departed. To the right, floriated foliage and to the 
left, trees of a silver and blue-green verdure. The exceedingly hand- 
some borders are complete. The perpendicular panels with flower 
vases and floral festoons united by fruit cartouches in a deep blue 
frame. The upper and lower panels with macaws perched on car- 
touches, volutes, ribbands and floral arabesques in blue, blue-greens, 
golden tans, and cream on a dark brown ground. Outer borders of 
bars and darts. Size, 10 feet 8 inches x 9 feet 6 inches 


VERDURE TAPESTRY PROBABLY OF FULHAM WEAVE 
ENGLISH, MID-18TH CENTURY 
The centre occupied by a Georgian mansion in a park with a pond 
and bridge. Foreground of tall densely foliated trees with birds 
perched upon their branches, one a blue bodied swallow-tail with 
long beak. Handsome border of canopied motifs, birds in hoops, 
fruit and flower compositions and cartouches, woven in colors 
reminiscent of the Renaissance on a soft gray ground. Uncommonly 
close warp. (Resold for account of purchaser) 
Size, 9 feet 5 inches x 9 feet 9 inches 


27 


82 


83 


84 


86 


87 


APRICOT COLORED SILK VELVET BANNER 

VENETIAN, ABOUT 1720 
Of a soft hue embroidered with a coronet cresting an oval medallion 
with a sacred monogram, all worked in silver bullion and gold. 
Uncommon silver galloon embossed with a cross of Malta. 
(Halbmayr) Size, 389 x 24 inches 


TWO PANELS OF SILK LAMPAS FRENCH, ABOUT 1770 
On a rich rose satin ground brocaded with figure subjects in the 
Oriental taste, war trophies, trees and floral arabesques in cream and 
green. (Halbmayr) (2) Size, 2 feet T inches x 2 feet 9 inches 


RENAISSANCE TAPESTRY PANEL FLEMISH, 16TH CENTURY 
Oblong panel, the centre an allegorical figure holding a sword in one 
hand and a bird in the other; above, another figure at the side of a 
temple and floral groups. Formal scroll border. Woven in poly- 
chromy on a golden yellow ground. Tape of later addition. 
(Halbmayr) Size, 2 feet 10 inches x 2 feet 2 inches 


COVER OF RENAISSANCE SILK BROCATELLE 

FLORENTINE, EARLY 17TH CENTURY 
Composed of broad band of crimson and gold brocatelle designed 
with floriated formal volutes in an all-over pattern, and two narrow 
bands of green and gold brocatelle with similar border designs. 
(Halbmayr) Size, 4 feet 5 inches square 


COVER OF MULBERRY COLORED SILK VELVET 

ITALIAN, 17TH CENTURY 
Fine silk velvet of a rare tonality, framed in metal galloon. 
(Halbmayr) Size, 3 feet 5 inches square 


EMBROIDERED SATIN COVER VENETIAN, ABOUT 1750 
Worked with an harmonious pattern of finely trellised cornucopia 
from which rise in each corner garden flower groups of bold design 
in tones of the Chinese taste; on a deep blue ground. Lined with 
contemporary crimson satin. (Halbmayr) 

Size, 3 feet T inches x 2 feet 8 inches 


28 


88 


MAGNIFICENT LARGE SERAPI CARPET 
[NUMBER 88] 


FINE LARGE SERAPI CARPET 

Magnificent design. On the field of bright red is a large shaped panel 
containing conventionalized flower and leaf forms and medallions in 
contrasting colors, on deep blue ground. The corners of the field 
show sectional panels in opposing colors to that of the centre. Wide 
border with similar design flanked by narrow guard stripes of 
fleurettes. (Rider) Size, 15 feet 10 inches x 18 feet 1 inch 


[SEE ILLUSTRATION | 


29 


89 


90 


91 


SHIRAZ RUG PERSIAN 
The field of deep blue sustains a rich color design of small leaves 
and flowers with stems which form a trellis-like pattern, in tones 
of bright red, turquoise-blue, and orange. Three borders, the main 
one with rosettes and serrated leaves forming meander vines on deep 
blue ground; two with fleurettes on pale yellow, flanked by guard 
stripes in contrasting red and white. (McGee) 

Size, 10 feet 10 inches x 8 feet 8 inches 


LARGE CHINESE WOOLEN RUG 

Striking design of plumage birds and sprays of flowers in bright 
yellow, orange, ivory-white and indigo on the rich blue field. Three 
borders, two with black key pattern on orange; the main one with 
cloud forms in deep tones on bright yellow. Blue outer border. A 
handsome rug. (Rider) Size, 23 feet 3 inches x 17 feet 9 inches 


CARVED CHEST FRONT NORMANDY, 16TH CENTURY 
Divided into four panels of conventional rosette or guilloche carving, 
intersected by feather or leaf carved moulding. Frieze above of 
carved naturalistic meander grape vine. (Dexter) 

Height, 37 inches; width, 54 inches 


30 


92 


FINE WILLIAM AND MARY WALNUT CHEST OF DRAWERS 
[NUMBER 92] 


WILLIAM AND MARY INLAID WALNUT CHEST OF DRAWERS 

ENGLISH, 1690-1700 
Of crotch walnut finely inlaid with oval panels of pollarded elm on 
the top and fronts of the two small and three long drawers; fine 
herringbone pattern borders in cross-cut light colored wood. A very 
decorative chest. (Dennison) Height, 37 inches; width, 38 inches 


[SEE ILLUSTRATION ] 
31 


93 


94 


FINELY CARVED MAHOGANY CHAIR 
PHILADELPHIA, 1750-60 


[NUMBER 93] 


FINELY CARVED MAHOGANY CHAIR PHILADELPHIA, 1750-60 
Showing Chippendale and Dutch influence. Open back with vase 
shape centre, yoke top ending in scrolled ears and centred by a finely 
carved open shell. Cabriole front legs with similar carved shells on 
the knees and very fine eagle claw and ball feet. Slip seat covered 
in green velour. (Albright) 


A nearly similar chair is illustrated in Lockwood, Vol. II, Fig. 542. 


[SEE ILLUSTRATION ] 


FINE OLD NORMANDY PEASANT DOLE TABLE 

FRENCH, 17TH CENTURY 
Panelled on all sides; the deep frame constructed as a chest to hold 
articles of domestic use. Framed and cleated top of solid walnut; 
sturdy chamferred square legs braced by grooved stretchers. 
(Dexter) Size of top, 65 x 29 inches 


32 


IMPORTANT RENAISSANCE TAPESTRY COVERED 
WALNUT SETTEE 


[NUMBER 95] 


95 IMPORTANT RENAISSANCE WALNUT SETTEE COVERED IN 
FLEMISH SIXTEENTH CENTURY TAPESTRY 
High back with brass finials, richly carved broad arms Aocetied ig 
square balusters. Deep front stretcher and legs also richly carved in 
boss and arabesque pattern. The back and seat covered. with two 
panels of very fine Flemish Renaissance tapestry, woven with rich 
baroque patterns of figures, flowers and fruits with distant vistas 
of verdure landscapes, in colors. The tapestry is of remarkable con- 
dition and quality. (Albright.) 
Height of back, 4 feet 10 inches; width of seat, 5 feet 3 inches 


En suite with the following two armchairs. 
[SEE ILLUSTRATION ]| 


33 


96 


IMPORTANT PAIR OF RENAISSANCE ARMCHAIRS 
EN SUITE 


[NUMBER 96] 


IMPORTANT PAIR OF RENAISSANCE WALNUT ARMCHAIRS 
COVERED IN FLEMISH SIXTEENTH CENTURY TAPESTRY 
En suite with the preceding settee. The backs and seats covered 
with panels of very fine Flemish Renaissance tapestry. The backs 
woven with panels of figure subjects in scroll cartouches surrounded 
by amorini, flowers and fruits. The seats showing winged female 
figures and helmeted warriors. (Albright) (2) 

Height of backs, 5 feet 2 inches; width of seats, 27 inches 


These armchairs and the foregoing settee constitute a Renaissance 
suite of imposing dignity and fine quality. 


[SEE ILLUSTRATION | 
34 


s fe 
f » 


ass . age $- a OR ay ae Pe oy 


FINELY WORKED VOLANT OF ROSEPOINT LACE 
GIVEN BY LOUIS XV TO LA MARQUISE DE PRIE 


[NUMBER 97] 


97 VOLANT OF “VENETIAN” ROSEPOINT LACE OF LA MAR- 
QUISE DE PRIE FRENCH, EARLY 18TH CENTURY 
A very important broad band measuring 5 yards 23 inches of point 
de France worked in the style of Venice with “fleurs volantes’”’; the 
flowers with petals in low relief in a continous arabesque pattern 
united by stalks. Finely and intricately worked diapered patterns 
interchanged with the linen ground. 


Given by Louis XV to the Marquise de Prie nee Berthelot de Pleneuf 
from 1698 to 1721, on the occasion of his marriage to Marie Lesczin- 
ska, as trimming for her state robe of gold. This marriage took 
place August 15th, 1725. The role played by the Marquise de Prie 
in arranging the marriage of Louis XV is referred to by Monsieur 
de Nolhac of the Academie Francaise in his book on the marriage of 
Louis XV. (Morgan) 


[SEE ILLUSTRATION ] 
35 


98 VERY FINE AUBUSSON TAPESTRY PANEL 

FRENCH, 19TH CENTURY 
“The Muletier’. A hilly landscape in the Auvergne country; the 
foreground occupied by a train of handsomely caparisoned mules led 
by the muletier in rose colored velvet. To the right, youthful 
peasants returning from the vineyards; the two maidens carrying 
grapes in wooden crates on their backs and in their aprons, and a 
young brightly garbed lad carrying a copper marmite. Background 
of a seventeenth century chateau and arch, and in front farmers 
hauling the wine casks. To the right and left golden brown and 
blue-green verdure. Formal meander, scroll and rosette border in 
two tone amber. This tapestry is woven with an abundance of silks 
and equals in close weave the finest of early eighteenth century 
tapestries. In composition it delightfully recalls the tapestries com- 
monly called Teniers. Size, 10 feet x 9 feet 6 inches 


[SEE ILLUSTRATION] 
36 


THE MULETIER 
VERY FINE AUBUSSON TAPESTRY PANEL 


[NUMBER 98] 


99 LACE JABOT OF POINT D’ALENCON OF EMPRESS MARIE 
THERESE FRENCH, EARLY 18TH CENTURY 
An historical object of singular beauty. Rectangular in form, it is 
worked in the very finest needlepoint on a reseau of infinite delicacy. 
The centre is occupied by the figure of the Empress with a tall 
oak leaf enriched crown on horseback; placed on a bracket. Above 
are two flying amorini holding a crown from which bouquets of 
flowers are showered upon the sovereign. To the right and left are 
knights on horseback in full armour. The remainder of the composi- 
tion comprises boar hunters and huntresses under canopied motifs, 
garden pavillions and islands surrounded by water birds, hunters, 
deer and hounds, heraldic birds and an inexhaustible wealth of floral 
and leaf arabesques, palmettes and pendants all with their intricate 
diapered reserves. The well-nigh miraculous interlacing of patterns, 
the perfection of outline make this piece one of the most outstanding 
examples of the lacemakers’ art. 


Given by Marie Antoinette, daughter of Marie Thérése to the Mar- 
quise de Chabert in 1780. (Morgan) Size, 16 x 13 inches 


[SEE ILLUSTRATION ] 


38 


ERK Rte RA «6 I %: 
oe % eo 


“he 


DELICATE LACE JABOT OF POINT D’ALENCON 
GIVEN BY MARIE ANTOINETTE TO LA MARQUISE DE CHABERT 


[NUMBER 99] 


100 


100A 


IMPORTANT FRENCH NEEDLEWORK PANEL 
[NUMBER 100] 


LARGE AND IMPORTANT NEEDLEWORK PANEL 
FRENCH, ABOUT 1700 
Composed of European figures and Indo-Persian ornaments in a series 
of tiers. The upper half a hunting lodge with pinnacled towers ap- 
proached by a noble huntress on a spirited white charger, a youthful 
attendant with hound, and in front of her the pack chasing the 
deer. Below another attendant in huntsman’s attire holding a boar’s 
head on a spear. The composition is filled with stiff-leaf floriated 
trees with birds perched upon branches and flying through the air, 
and a great variety of other imaginative details worked in daringly 
multicolored wools on a dark brown ground. 
Length, 331% inches; width, 28 inches 


[SEE ILLUSTRATION ] 


SHIRAZ WOOLEN RUG PERSIA, 1830-40 
Light colored field covered with rows of jardinieres filled with large 
roses and flanked by birds, in rich reds and green touched with in- 
digo and orange. Narrow border of roses and meander vines. Close 
weave and short nap. Very pleasing rug. 

Size, 75 x 69 inches 


40 


101 


102 


FINE NEEDLEWORK CHAIR SEAT AND BACK 
FRENCH, ABOUT 1720 


[NUMBER 101] 


NEEDLEWORK CHAIR SEAT AND BACK FRENCH, ABOUT 1720 
In composition and colors similar to the preceding. The back in petit 
point, centre with the figure of a ‘‘Precieuse” blowing a shepherd’s 
horn. She is flanked by two rosebushes. The seat in gros point 
with a flower filled vase in the Indo-Persian taste. 

Size of back, 19 x 1814 inches; seat, 23 x 23 inches 


[SEE ILLUSTRATION] 


NEEDLEWORK CHAIR SEAT AND BACK FRENCH, ABOUT 1720 
The back with a centre of fine petit point needlework of silk repre- 
senting a court lady with feathered headgear in an allegorical pose, 
and to her right a sacrificial bowl. The outer framework in wools 
and silks of floral stiff-leaf arabesques in rose, brown, green, blue 
and silver-gray on a black ground. 
The seat with a gros point centre with a flower composition in multi- 
colored silks on a silver-gray ground in a reserve surrounded by 
frame and arabesques designed similarly to back. 

Size of back, 19 x 1814 inches; seat, 2114 x 23 inches 


41 


103 


104 


105 


106 


107 


NEEDLEWORK CHAIR SEAT AND BACK _ FRENCH, ABOUT 1720 
In composition and colors similar to the preceding. The back in petit 
point with a figure from the Italian Comedy; a Harlequin in brightly 
checkered costume flanked by leafy trees. 
The seat in gros point with a floral arrangement in reserve. 

Size of back, 19 x 1814 inches; seat, 2214 x 23 inches 


NEEDLEWORK CHAIR SEAT AND BACK — FRENCH, ABOUT 1720 
In composition and colors similar to the preceding. The back in petit 
point with a youthful player, a lady in flowing robes of gold, scarlet, 
blue and silver-gray wearing an arrangement of ostrich feathers 
in her hair. The seat in gros point in a floral composition. 

Size of back, 19 x 1814 inches; seat, 2214 x 23 inches 


NEEDLEWORK CHAIR SEAT AND BACK _ FRENCH, ABOUT 1720 
In composition and colors similar to the preceding. The back in petit 
point with a figure of a noble huntress in tight fitting yellow bodice 
over a gold and crimson robe. She wears a hunting hat with feather 
and holds a hunting horn. In need of slight repairs. 

Size of back, 19 x 1814 inches; seat, 221% x 24 inches 


NEEDLEWORK CHAIR SEAT AND BACK FRENCH, ABOUT 1720 
In composition and colors similar to the preceding. The centre in 
petit point with a figure of a courtier playing a musette; dressed in 
a coat of gold and scarlet and wearing a large feathered hat. He 
holds a musette (the Troubadours’ instrument) of blue velvet. Rich 
flowered ground of brilliant blues and flowered trees flanking. Seat 
in gros point similar to preceding. 

Size of back, 1914 x 1814 inches; seat, 23 x 24 wches 


CURLY MAPLE HOODED HIGHBOY AMERICAN, ABOUT 1740 
Of fine hard blond maple showing a faint curl. The upper chest has 
three long drawers with three small drawers above, the centre one 
enriched with a carved sunburst. Double scroll hooded pediment at 
the top ornamented with three carved finials. The lower part con- 
tains a long shallow drawer above a deeper drawer which has a 
carved sunburst to match the one at the top. Triple arch skirt and 
graceful cabriole supports with pad feet. (Albright) 

Height, 7 feet; width, 38 inches 


[SEE ILLUSTRATION] 


42 


EARLY AMERICAN CURLY MAPLE HOODED HIGHBOY 
[NUMBER 107] 


108 CARVED MAHOGANY SERVING TABLE ENGLISH, ABOUT 1800 
Wine or buffet table. Semicircular with pivoted decanter holder. 
Drop end flaps and spirally fluted legs. (Dennison) Width, 6 feet 


DACHSHUND 
BY ANTOINE LOUIS BARYE 


[NUMBER 109] 


109 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Dachshund’’. In walking attitude with head slightly turned to the 
left and tail held high. On moulded oblong base. A most pleasing 
figure in Barye’s best rugged style. Signed on the base. 
Height, 61% inches; length, 91% inches 


See illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 35. 
Companion to the following number. 


[SEE ILLUSTRATION ] 


110 BRONZE ANIMAL BY ANTOINE LOUIS BARYE 


FRENCH, 1796-1875 
“Dachshund”. Companion to the preceding number. 


Height, 64 inches; length, 942 inches 
44 


Lit 


112 


113 


114 


BRONZE EQUESTRIAN FIGURE BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
Charles VII, victorious. Crowned with laurel wreath, wearing full 
armour and mounted on a charger. Very fine detail modelling. 
Antique greenish-brown patina. Signed on the oblong’ base. 
Height, 111% inches; width, 1014 inches 


Charles VII, first king of Sweden and Gothland, reigned from 1162 
to 1168. He founded churches and spread the Christian faith 
throughout Northern Europe. He avenged the death of his father 
who was murdered by Magnus Erickson, and in turn was assassinated 
by the murderer’s son Canute Erickson. 


See illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 42. 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Running Stag’. Signed “Barye” on the foliated base. A doubt 
exists as to the authenticity of this piece. (Weis) 


Height, 4 inches; width, 5 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


SMALL BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Dachshund”. Standing with tail erect and head slightly turned to 
the right. Unusually fine example of Barye’s work. Signed ‘“Barye’”’ 
on the oval base. (Weis) Height, 4 inches; width, 514, inches 


A slight variant of the Daschund illustrated in Roger Ballu’s ‘“L’- 
Oeuvre de Barye’”’, page 35. 
Exhibited at the Delgado Museum of Art, New Orleans. 


SMALL BRONZE BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Ragle, Alighting’. Its massive wings full spread, the head slightly 
inclined to the lower right as though watching its prey far below. 
Signed on the base and mounted on polished black marble plinth. 
Height with plinth, 7 inches 


A slight variant of the eagle shown in Roger Ballu’s ‘‘L’Oeuvre de 
Barye’’, page 64. 


45 


115 


116 


Tie 


118 


119 


BRONZE FIGURE BY L. HOTTOT 

“Ta Forgeron”. A young Picardy blacksmith fashioning with pincers 
and hammer a sickle blade upon an anvil. Finely sculptured figure 
with greenish patina. (Estate of Ada D. Black) Height, 35 inches 


FRENCH BRONZE FIGURE BY H. MULLER 
Man with scythe. Signed on the base. (Estate of Ada D. Black) 
Height, 151% inches 


ITALIAN BRONZE GROUP 
Neapolitan shepherd boy. Signed “Chivvrozzi, Napoli”. On veined 
marble slab (Hstate of Ada D. Black) Height, 18 inches 


FINE LARGE ANATOLIAN SILK RUG 
Close even weave and short nap. The field of Nile green is centred 
by a large oval medallion which shows Persian figures of musicians 
and dancers entertaining high personages in gardens, on a ground 
of bright red, surrounding this are numerous inscriptions in indigo 
on ivory-white. The remainder of the field sustains beautiful flower- 
ing trees and shrubs represented in naturalistic form, in delicate 
pastel colors. Eight borders, the main one with flowering trees, 
birds and other animal forms, in similar delicate pastel tints on pale 
green ground. Deep fringe at one end. (Rider) 

Size, 16 feet 9 inches x 12 feet 3 inches 


BROCADED HALF CHASUBLE VENETIAN, ABOUT 1720 
Covered with Persian flower and leaf arabesques in silver-gray and 
emerald with petals of soft rose on a rich golden yellow ground. 
(Halbmayr) 


46 


120 GROS POINT AND PETIT POINT NEEDLEWORK PANEL 
ENGLISH, ABOUT 1720 
Oblong panel, the centre with a noble shepherd and shepherdess with 
a background of a clipped hedge in soft tones worked in very fine 
petit point. Framework of stiff-leaf arabesques in green, rose and 
tan on a dark brown ground. (Halbmayr) 
Size, 2 feet 6 inches x 1 foot 7 inches 


121 SILK EMBROIDERED ANTEPENDIUM OF THE LOUIS SEIZE 
PERIOD VENETIAN, ABOUT 1770 

A delightful hanging on a soft amber colored moire ground embroid- 

ered with a bold S scrolled trellis pattern in silver-gray with height- 
enings of blue and gold, and in each field gracefully contorted field 
flowers worked in multi-colored threads. Bottom border richly em- 
broidered au passe with imaginatively designed interlaced scrolls 

and flower motifs. Original polychromed silk thread. (Halbmayr) 

Size, 6 feet x 3 feet 5 inches 


122 DRAP D’OR CHASUBLE ITALIAN, ABOUT 1750 
An exceedingly fine fabric woven with garden flower groups in multi- 
colored silks with numerous petals of silver bullion and climbing 
ribbands of silver and purple, on broad fields of silver cloth, the whole 
on a ground of cloth of gold. Handsome contemporary gold embossed 
galloon. (Halbmayr) 


123 LOUIS QUINZE CHASUBLE OF ROSE COLORED BROCADE 
FRENCH, ABOUT 1750 
Back and front covered with interlaced palmette leaves and fleurette 
groups in an all-over pattern woven in pale rose with leaves of silver- 
gray in relief on a diapered soft rose ground. Gold lace trimming. 
(Halbmayr) 


AT 


124 IMPORTANT GOBELIN TAPESTRY AFTER THE CARTOON OF 
JACQUES BAILLY FRENCH, PREVIOUS TO 1690 
“Jardin des Plantes”. Resembling in composition the celebrated set 
of the Seasons after the same master. The tapestry is composed 
architecturally as a columnar opening through which can be seen 
the trees and foliage of the Jardin des Plantes. In the centre on a 
green are small groups of figures minutely drawn, beyond a playing 
fountain and to the left the bosquets of a labyrinth, and further 
on high clipped walls of green and pavilions. The foreground repre- 
sents a lyre scrolled balustrade, each lyre with the emblem of the 
fleur-de-lys; perched upon its ramp the bold outline of a guinea 
fowl, and screening the balustrade the combat of an eagle and a 
lioness. The sides are furnished by Ionic marbled columns. The 
border of a garden flower and oak leaf garland composition in rich 
naturalistic tones on a terra cotta ground. It is crested by a bold 
cartouche flanked by eagle wings and supporting a medallion con- 
taining a representation of the goddess Demeter in sanguine and 
tan on a golden yellow ground. The bottom bears in another car- 
touche the inscription “Jardin des Plantes” in black letters on a rich 
rose colored ground. (Halbmayr) 

Height, 10 feet; width, 6 feet 4 inches 


Jacques Bailly, the miniaturist, 1629-1679, worked at the Gobelins 
under Le Brun. His cartoons are unmistakable by the introduction 
of engaging small details into the bold composition of the tapestry. 


[SEE ILLUSTRATION | 


48 


JARDIN DES PLANTES 


RARE AND IMPORTANT GOBELIN TAPESTRY 
AFTER THE CARTOON OF JACQUES BAILLY 
FRENCH, PREVIOUS TO 1690 


[NUMBER 124] 


SALE SATURDAY AFTERNOON, APRIL SEVENTEENTH, AT TWO-THIRTY 


125 


126 


128 


129 


130 


131 


SECOND SESSION 


NUMBERS 125-247 


OLD CHINESE DECORATED LACQUER BOX 
Fitted with numerous smaller boxes. Painted and gilded with figures 
and landscapes on a black ground. (Dennison) 

Size, 16x 1114 inches 


SMALL CARVED WALNUT MIRROR ENGLISH, ABOUT 1730 
Attractive frame cut in scrolls. A flat cyma mould borders the old 
glass panel. (Dennison) Height, 2714 inches; width, 20 inches 


MAHOGANY WASHSTAND ENGLISH, 18TH CENTURY 

Top fitted for wash bowl and articles of toilet; slotted swing mirror 

at the back. The front with drawers and doors. (Dennison) 
Height, 38 inches; width, 2514 inches 


MAHOGANY DROP-LEAF OCCASIONAL TABLE 
ENGLISH, LATE 18TH CENTURY 
Three-panel folding top of solid mahogany. Supported on slender 
turned spindle legs and gates. (Dennison) 
Size of top, 31 x 34 inches 


FRENCH SIXTEENTH CENTURY DESPATCH BOX 

Of walnut, with the original fine wrought iron flower shape strap 
hinges, hasp and lock. From the Chateau Teriat, Valley of the 
Rhone. Said to have been used to transport State papers to Paris. 
(Dexter) Size, 24 x 1214 inches 


EIGHTEENTH CENTURY SMALL BURLED WALNUT WRITING 
DESK 

Charming small writing desk with hinged slant top enclosing fitted 
interior; a drawer below. On tapered square legs with fret corners. 
(Dennison) Height, 38 inches; width, 20 inches 


WALNUT CORNER CHAIR ENGLISH, ABOUT 1730 
Roundabout chair with two pierced beaker shape splats; slip seat 
covered in crimson damask; one cabriole and three straight legs. 
(Dennison) 


51 


NEEDLEWORK AND MAHOGANY POLE SCREEN 
ENGLISH, ABOUT 1770 


[NUMBER 132] 


132 NEEDLEWORK AND MAHOGANY POLE SCREEN 
ENGLISH, ABOUT 1770 
Vase turned and fluted tripod support with snakehead feet. Mounted 
with a rectangular panel of fine contemporary petit point needlework 
showing a classic urn fitted with summer flowers. (Dennison) 
Height, 50 inches 
[SEE ILLUSTRATION ] 


52 


RARE OLD ENGLISH CARVED OAK CHEST 
ob [NUMBER 133] 


133. JACOBEAN CARVED OAK CHEST ENGLISH, ABOUT 1630 
Simple sturdily built specimen in fine old English oak blackened with 
age. Panelled top and sides; a border of carved half rosettes orna- 
ments the three-panel front. Original condition. (Dexter) 

Height, 24 inches; width, 44 inches 


[SEE ILLUSTRATION] 
53 


134 


138 


CHIPPENDALE MAHOGANY FOLDING CARD TABLE 

ENGLISH, ABOUT 1750 
Shaped square top supported by acanthus carved cabriole front legs 
with eagle claw and ball feet. The remaining two cabriole supports 
have pad feet and are pivoted to support the fold-over leaf. A drawer 
in the front. (Dennison) Width, 33 inches 


EMBROIDERED SEMAINIER (CALENDAR) 

SPANISH, 18TH CENTURY 
An exceedingly interesting wall pocket arched at the top and em- 
broidered on five panels in silver bullion and colors on a dark 
sapphire-blue ground with figures, scrolls, creatures of the air and 
a multitude of imaginative arabesques. Each panel with incidents 
from Don Quixote. Between each panel appear inscriptions in Gothic 
and Hebrew letters. Size, 26 x 614 inches 


PETIT POINT NEEDLEWORK FRAME FRENCH, ABOUT 1720 
In a silver bullion embroidered frame surrounded by a composition 
of garden flowers tied by ribbons and worked in blues, rose, two 
tone greens, and creams on a dark brown ground. In gilded frame 
of later addition. Size, 10 x 1014 inches 


BLUE VELVET AND GOLD EMBROIDERED SADDLE CLOTH 

SPANISH, 17TH CENTURY 
A cover of sapphire-blue silk velvet embroidered with large fleurette 
and palmette leaf compositions in the Persian taste in gold bullion 
on a basket weave embroidered gold ground. Original gold galloon 
and fringe. One cover and two semi-oval flaps. 


NEEDLEWORK CHAIR COVER FRENCH, ABOUT 1710 
The centre in petit point with an uncommon composition of mas- 
queraders in costumes of the Italian Comedy; a male youth as a 
Harlequin and the maiden as Pierette in tightly fitting bodice. They 
are surrounded by a floral and bird design in the taste of the “Ten- 
tures des Indes.’”’ Leaves and fruit laden branches and an heraldic 
bird perched upon them worked in petit point in soft golden tones 
with heightenings of greens and blues on a darkbrown ground. 
Persian arabesques in multicolored wools on a brown ground. 

Size, 28 x 27 inches 


54 


EARLY AMERICAN MAHOGANY ARMCHAIR 
ATTRIBUTED TO WILLIAM SAVERY 


[NUMBER 139] 


189 CARVED MAHOGANY ARMCHAIR ATTRIBUTED TO WILLIAM 
SAVERY PHILADELPHIA, ABOUT 1760 
Open back finely carved with scrolled acanthus leaves; the pierced 
centre splat formed of C scrolls framing a diamond or comet shape 
motif. Cabriole legs ending in eagle claw and ball feet. Slip seat 
retains the original torn leather covering. A few slight repairs. 
(Albright) 


A nearly similar chair is illustrated in Lockwood, Vol. II, Fig. 544. 
[SEE ILLUSTRATION] 


5D 


PANTHER SEIZING A CIVET CAT 
BY ANTOINE LOUIS BARYE 


[NUMBER 140] 


140 BRONZE GROUP BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Panther Seizing a Civet Cat.” The larger animal is in a springing 
attitude and has stricken the cat to the ground with his huge paw. 
Rugged modelling and probably one of Barye’s early works. Signed 
on one side of the rocky base. (Weis) 
Height, 9 inches; width, 18 inches 


Exhibited at the Chicago Art Institute. 
[SEE ILLUSTRATION | 


56 


141 


142 


143 


144 


145 


SMALL BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Antelope Running in Long Grass.” Very pleasing small figure 
delicately modelled. Signed ‘‘Barye, 1837” on the oval base. Slight 
defect. (Weis) Height, 314, inches; width, 414 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


PAIR OF SMALL BRONZES BY P. J. MENE — FRENCH, 1802-1875 
Dead Pheasant and Dead Hare, hanging on wood panels. Signed 
“P. J. Mene” on the panels. (Weis) Height, 71% and 51% inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


BRONZE ANIMAL BY E. FREMIET FRENCH, 1824-1868 
“Hound Standing.” As though straining at the leash, the head 
slightly to the left, the hind legs extended. Signed “‘E. Fremiet’’ on 
the oblong base. Fine figure. (Weis) 

Height, 34% inches; width, 72 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Bear Standing.” Reared on its hind legs, its fore paws raised in 


_ combative attitude. Ruggedly modelled figure expressing strength. 


Signed on the rocky base. Antique greenish patina. 
Height, 914 inches 


See illustration in Charles de Kay’s “Barye’’, Fig. 27. 


TWO SMALL FRENCH BRONZE FIGURES 
Reclining Fawn and Snail. Unsigned. Fine miniature sculpturing. 
(Weis) (2) Width, 234, and 134 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 
57 


146 


147 


148 


FINE EARLY AMERICAN TWO-BACK 
MAHOGANY SETTEE 


[NUMBER 146] 


FINE CHIPPENDALE TWO-BACK MAHOGANY SETTEE 
AMERICAN, 1760-70 
Has wide proportioned two-chair back with Cupid’s bow crests, 
slightly down curved to meet the grooved side rails. Pierced and 
entwined vase shape centre splats with carved stalactite motifs at 
the tops in the style of the Philadelphia chair makers. Voluted and 
knuckled arms; serpentine-front seat upholstered and covered in 
black leather. Grooved square legs with carved corner brackets and 
plain stretchers. (Albright) Width, 6 feet 4 inches 


[SEE ILLUSTRATION ] 


CURLY MAPLE LOWBOY AMERICAN, EARLY 18TH CENTURY 
Contains a long drawer and three small drawers above a gracefully 
arched skirt. On sturdy cabriole supports with club feet. Rectan- 
gular top with curled texture. (Albright) 

Height, 34 inches; width, 39 inches 


SEVENTEENTH CENTURY WROUGHT IRON FIREBACK 

Depicting a group of figures in an arcaded niche, representing the 
“Marriage at Cana’’. Inscribed below is the date 1681. Originated 
from Brittany. Rare. (Dexter) Size, 28 x 20 inches 


58 


QUEEN ANNE WALNUT SLANT-TOP DESK 
ENGLISH, ABOUT 1710 


[NUMBER 149] 


149 QUEEN ANNE WALNUT SLANT-TOP DESK 
ENGLISH, ABOUT 1710 
Finely figured crotch walnut banded with herringbone borders. Slant 
top encloses drawers and pigeonholes. Body contains two small and 
three long drawers. Has acquired a fine mellow patina. (Dennison) 
Height, 381% inches; width, 33 inches 


[SEE ILLUSTRATION | 
59 


150 


151 


152 


153 


154 


SMALL STRIKING WALL CLOCK BY W. MOORE, LONDON 
ENGLISH, ABOUT 1700 
Case of burled walnut with herringbone borders. Brass dial with 
chased corner mounts and fine hour and minute hands; engraved 
with the maker’s name. Complete with chains and weights. (Den- 
nison) Height, 13 inches; width, 10 inches 


PERSONAGE TAPESTRY FROM THE CHATEAU D’ERMENON- 
VILLE FLEMISH, 16TH CENTURY 
“The Conquest of Troy.” A vigorous composition of war, the centre 
occupied by victorious soldiers in Roman armour about to annihilate 
prostrate enemies. Background of an ideal landscape in the style 
of Floris with temples, chatelets and blue and gold verdure. Hand- 
some border of landscape vignettes, flower vases and canopied alle- 
gorical motifs in blue greens and golden tans. (Morgan) 

Size, 9 feet 7 inches x 17 feet 


LARGE CHINESE WOOLEN RUG 
The field of deep blue is covered with an all-over pattern of small 
sprigs of flowers, also five large shaped medallions representing 
peonies, the centres filled with a similar flower pattern. Wide border 
of palmettes alternating with characters, in peacock-blue and bright 
red on blue ground. Very fine quality. (Rider) 

Size, 24 feet 6 inches x 18 feet 


LARGE KHORASSAN WOOLEN RUG PERSIAN 
The field of bright red sustains a rich all-over design of peony pal- 
mettes in conventionalized form in shades of green, blue and yellow, 
intersected by smaller flower and leaf motifs in similar colors. Wide 
border of peonies and meander vines on deep blue, flanked by narrow 
guard stripes of diaper pattern. Outer border of mulberry red. 
(McGee) Size, 15 x11) feet 


WOOLEN RUG KIRMAN, PERSIA, LATE 16TH CENTURY 
Closely related to the vase rugs. Main border showing purple and 
light blue cypress trees and large palmetto flowers. The centre field 
divided into compartments by large arabesque leaves. In the single 
compartments groups of roses, star flowers, irises, lilies, ete., in 
beautiful strongly conventionalized design. Deep indigo-blue back- 
ground. Repaired. Size, 7 feet 9 inches x 7 feet 8 inches 


[SEE ILLUSTRATION] 
60 


LATE SIXTEENTH CENTURY KIRMAN WOOL RUG 
[NUMBER 154] 


156 


157 


158 


EMBROIDERED CHASUBLE OF THE LOUIS SEIZE PERIOD 

FRENCH, ABOUT 1770 
Worked in a pattern of climbing floral branches in golden yellow, 
olive-green, silver-gray and tan on a soft sapphire-blue moire ground; 
trimmed with gold galloon. (Halbmayr) 


GOLD AND SILVER BROCADED CHASUBLE 

ITALIAN, ABOUT 1720 
On a fleuretted dark brown ground covered with serpentined floral 
garlands in multicolored silk threads with enrichments of silver 
interlaced with baroque acanthus scrolls of gold; trimmed with silver 
lace. (Halbmayr) 


VERY IMPORTANT GOLD BROCADED COPE 

VENETIAN, ABOUT 1730 
On a warm silver-gray ground are woven singularly graceful re- 
peating patterns of flower baskets and floral volutes in the Persian 
taste with palmettes, petals and leaves in gold; the other designs in 
soft apple-green and two-tone rose and golden yellows; others in a 
tone lighter than the ground of the fabric. Original very uncommon 
floriated gold lace. (Halbmayr) Size, 9 feet x 4 feet 5 inches 


GOLD BROCADED DALMATICA VENETIAN, ABOUT 1730 
In workmanship similar to the preceding. 


62 


TWO OF A SET OF NINE FLORENTINE CHAIRS 
SEVENTEENTH CENTURY 


[NUMBER 159] 


159 NINE FLORENTINE SEVENTEENTH CENTURY CHAIRS 
Leather covered shaped high backs and seats. Six have collar and 
baluster turned legs and stretchers; the remaining three have spiral 
twisted stretchers and large button feet, this, however, does not 
prevent their harmonizing as a group. The backs bear the Medici 
erest. (Dexter) (9) 


In “The Lure of Amateur Collecting’ Mr. Dexter gives an interesting 
account of how he acquired these chairs from a castle north of 
Florence and of the legend connected with one of the set to the 
effect that this particular chair was used only by the Cardinal and 
ancestor of the former owner. 


Exhibited at the Boston Museum of Fine Arts, 1923. 
[SEE ILLUSTRATION ] 
63 


160 


161 


162 


163 


EXTREMELY FINE GOTHIC CARVED 
WOOD PANEL 


[NUMBER 160] 


RARE GOTHIC CARVED WCOD PANEL FRENCH, 16TH CENTURY 
Beautifully carved in tracery, chevron and rosette pattern. Pro- 
nounced by French authorities on Gothic art as one of the finest 
examples of its period. An admirable ornament as an overmantel 
for a Gothic room. (Dexter) Height, 39 inches; width, 62 inches 


[SEE ILLUSTRATION] 


DECORATED LACQUER TRIPOD TABLE 
ENGLISH, 18TH CENTURY 
Similar to the preceding. The top damaged. (Dennison) 
Diameter of top, 36 inches 


DECORATED LACQUER TRIPOD TABLE ENGLISH, 18TH CENTURY 
Circular tilt top, turned pillar and tripod base with carved paw feet. 
Decorated with Chinese figures and pavilions in black on a ground 
of bronze lacquer. (Dennison) Diameter of top, 36 inches 


‘WILLIAM AND MARY WALNUT LOWBOY ENGLISH, ABOUT 1690 


Fitted with a long drawer above two small drawers and standing on 
ring, club and ball turned legs which end in large defective ball feet 
and are braced by scrolled stretchers. (Dennison) 

Height, 32 inches; width, 32 inches 


64 


164 


THESEUS SLAYING THE MINOTAUR 
BY ANTOINE LOUIS BARYE 


[NUMBER 164] 


BRONZE GROUP BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Theseus Slaying the Minotaur.” A fine group expressing great 
strength and vigor. Theseus standing with legs astride, grasps with 
his left hand the bull-headed, human-bodied Minotaur and is in the 
act of plunging his dagger into the creature’s brow. One of the most 
celebrated works by this master sculptor. Signed on the oblong base. 
Fine antique patina. Height, 1734, inches; width, 111% inches 


See illustration in Roger Ballu’s ‘‘L’Oeuvre de Barye’’, page 92, and 
Charles de Kay’s “‘Barye”, Fig. 64. 


[SEE ILLUSTRATION ] 


65 


165 


166 


167 


168 


L69 


BRONZE GROUP BY P. J. MENE FRENCH, 1802-1875 
“Panther Attacking a Crocodile.” Powerful group portraying a 
mortal battle between a denizen of the swamp and of the jungle. 
Finely executed in rugged mass modelling. The panther has sprung 
upon the back of the crocodile and seized with his fangs the only 
assailable part of the reptile’s hide. Signed “P. J. Mene” on the 
rocky base. (Weis) Height, 714, inches; width, 15 inches 


FRENCH GROUP BY P. J. MENE FRENCH, 1802-1875 
“Mare with a Colt.” A mare gently trotting over rough ground 
looks around upon the antics of a young colt prancing at her side. 
Signed “P. J. Mene”. Fine realistic group. (Weis) 

Height, 12 inches; width, 19 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Seated Lion” (called The Philosopher). Ruggedly modelled seated 
figure of a full maned lion resembling the traditional lion of the 
Louvre. With rich brown patina. Probably a Cire Perdue casting. 
Signed ‘‘A. L. Barye” on the base. (Weis) 
Height, 7 inches; width, 614, inches 


Exhibited at the Chicago Art Institute. 


[SEE ILLUSTRATION PAGE 16] 


BRONZE HEAD 
“Laughing Boy.” Signed S. Gatti. Mounted on tapered marble 
plinth. (Solano) Height with plinth, 21 inches 


CARVED ONYX RELIEF PLAQUE 
Bacchante Disarming Cupid. (Dennison) Size, 1444x17 inches 


66 


ONE OF A PAIR OF CHIPPENDALE MAHOGANY ARMCHAIRS 
ONE OF A SET OF FIVE CHIPPENDALE MAHOGANY SIDE CHAIRS 


[NUMBERS 171 AND 170] 


170 SET OF FIVE CHIPPENDALE MAHOGANY SIDE CHAIRS 


171 


ENGLISH, ABOUT 1760 
The backs in Chippendale’s so-called Gothic style and finely carved 
on the cupid’s bow top with waterleaf motifs. Seats covered in black 
morocco studded with brass nails. Grooved legs with fret brackets 
at the corners and H stretchers. Fine quality. (Buchanan) (5) 


This set and the following five numbers comprising fourteen Chip- 
pendale chairs show but little difference in the style of the backs 
and were used by the owner as a set of two arm-chairs and twelve 
side chairs, all of the seats being covered in the same material. 


[SEE ILLUSTRATION] 


PAIR OF CHIPPENDALE MAHOGANY ARMCHAIRS 
ENGLISH, ABOUT 1760 
With Gothic style pierced and carved open backs; cupid’s bow crest 
rails, voluted and grooved arms, chamferred square legs braced by 
stretchers. Slip seats covered in black morocco. (Buchanan) (2) 
Width of seats, 23 inches 
[SEE ILLUSTRATION ] 


67 


172 


173 


ONE OF A PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 
ONE OF A PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 


[NUMBERS 172 AND 173] 


PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 

ENGLISH, ABOUT 1760 
Fine Gothic style pierced open backs carved with acanthus scrolls 
on the crest rails. Square legs also finely carved with conventional 
rosettes; pierced fret brackets at the corners are an addition; plain 
stretchers. Seats upholstered in black morocco with brass nails. 
(Buchanan) (2) 

[SEE ILLUSTRATION ] 


PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 

ENGLISH, ABOUT 1760 
Open backs with pierced vase shape centre splats. Yoke shape crest 
rails carved with rosettes and acanthus foliage. Some of the fret 
brackets at the angles of the grooved legs are restored; H stretchers 
brace the legs. Seats covered in black morocco studded with brass 
nails. (Buchanan) (2) 


[SEE ILLUSTRATION] 


68 


174 


175 


176 


Eee 


PAIR OF CHIPPENDALE MAHOGANY SIDE CHAIRS 

ENGLISH, ABOUT 1760 
Handsome Gothic pattern pierced open backs with carving of stalac- 
tite and acanthus scrolls on the scalloped crest rails and centre splats. 
Grooved legs with pierced fret brackets at the corners, and plain 
stretchers. Seats covered in black morocco studded with brass nails. 
(Buchanan) (2) 


CHIPPENDALE MAHOGANY SIDE CHAIR ENGLISH, ABOUT 1760 
Attractively carved and pierced open back with Gothic style centre 
splat. Grooved legs with fretted brackets at the corners, three re- 
newed. Black morocco covered seat. (Buchanan) 


LARGE PANEL OF NEEDLEWORK FRENCH, ABOUT 1700 
The design after Daniel Marot. The centre in the Indo-Persian taste 
with an Oriental Queen on a chariot. Above and below, meander 
volutes and floral arabesques in multicolored silks and wools on a 
mirror black ground. Size, 29 x 27 inches 


NEEDLEWORK PANEL FRENCH, ABOUT 1700 
An exceedingly imaginative composition, European in design and 
Oriental in its arrangement of detached motifs. The lower tier with 
two chateaux of most unusual high-towered classic architecture, and 
a rustic carrying an amply filled basket. Above, a shepherd play- 
ing a horn with his flock; background of a terraced villa and to the 
left a church, and above a pastorale group and a windmill. Between 
these detached motifs of petit point and gros point placed on islands 
of greens are a wealth of trees in bloom, flowered bushes and creat- 
ures of the air in brightly colored wools reminiscent of the then 
favored lacquered objects in the Oriental taste. 

Size, 2814 x 22 inches 


69 


IMPORTANT NEEDLEWORK BENCH COVER 
FRENCH, ABOUT 1720 


[NUMBER 178] 


178 NEEDLEWORK BENCH COVER OF THE REGENCE PERIOD 
FRENCH, ABOUT 1720 
Important panel with shaped outlines, the centre a reserve of very 
fine petit point in the style of Desportes, a pond with water birds 
and flamingos, a park with deer and a columnar building with guinea 
fowl on its balustrades and steps; a crimson parrot and a macaw 
on tree branches, etc. Gros point frame of stiff-leaf arabesques in 
multicolored threads on a canary yellow ground. 
Size, 7034, x 25 inches 
[SEE ILLUSTRATION] 


70 


RARE PETIT AND GROS POINT 
NEEDLEWORK PANEL 
ENGLISH, ABOUT 1700 


[NUMBER 179] 


179 PETIT AND GROS POINT NEEDLEWORK PANEL 

ENGLISH, ABOUT 1700 
In the manner of a tapestry picture. The centre with a figure of 
the Good Shepherd with his flock in a mille fleurs garden, and a hound 
tied to a tree. Background of a magnificent Renaissance palace with 
a formal garden and a high church tower beyond, a Tudor mansion, 
a windmill in a plain backed by silhouetted hills, and to the right 
fruit laden trees. Worked in golden tans and blue-greens with 

heightenings of crimson on a brilliant canary-yellow ground. 
Size, 2514 x 2834 inches 

| SEE ILLUSTRATION ] 


(el 


RARE CHIPPENDALE MAHOGANY SIDEBOARD TABLE 
[NUMBER 180] 


180 CHIPPENDALE CARVED MAHOGANY SIDEBOARD TABLE 

ENGLISH, 18TH CENTURY 
In solid mahogany. Rectangular top with two-tier brass rail at the 
back. A long drawer in the front; frame and chamferred square 
legs finely carved in fret pattern and with pierced and carved acan- 
thus scroll brackets at the angles. Sideboards or sideboard tables of 

this type are rarely found. (Buchanan) 
Height, 341% inches; width, 6 feet 714 inches; depth, 3 feet 


[SEE ILLUSTRATION] 


12 


181 


182 


183 


184 


BROCADED DALMATICA VENETIAN, ABOUT 1750 
On a cream and silver-gray fleuretted silk ground covered with 
bouquets of garden flowers in mulberry, green and rose and with 


arabesques in soft two-tone blue. Contemporary gold galloon. 
(Halbmayr) 


BROCADED DALMATICA VENETIAN, ABOUT 1750 
Similar to the preceding. (Halbmayr) 


CHIPPENDALE MAHOGANY CHEST OF DRAWERS 
ENGLISH, MID-18TH CENTURY 
Finely constructed in solid mahogany. Serpentine front and sides. 
Four long drawers and leaf carved chamferred corners. On finely 
shaped carved bracket feet. (Dennison) 
Height, 40 inches; width, 45 inches 


PANELLED OAK LANCASHIRE SETTLE 

ENGLISH, EARLY 18TH CENTURY 
High back divided into four arcaded and chamferred panels. Scrolled 
and flattened arms, cabriole supports. Web seats and crimson 
brocade loose cushion. (Dexter) Width. 72 inches 


73 


185 


FINE PAIR OF WHEELLOCK PISTOLS 
AUGSBURG, ABOUT 1560 


[NUMBER 185] 


FINE PAIR OF IVORY INLAID WHEELLOCK PISTOLS 

AUGSBURG, ABOUT 1560 
The stocks and ball pommels magnificently inlaid with ivory, the 
chief embellishment being the lion or leopard mask. The barrels 
bear the Augsburg town mark. Steel flint hammers and wheellocks 
in remarkably fine condition. Key attached. The slight difference 
in size of the two pistols should not be taken as meaning that these are 
not a pair, as similar specimens in the Metropolitan Museum of Art 
show the same difference in measurements. Very rare. (Shwartz) 
(2) Length, 21 inches 

[SEE ILLUSTRATION | 


74 


186 


187 


188 


189 


190 


191 


192 


GUISARME AUSTRIAN, ABOUT 1560 
Guisarme or Bill. Fine steel head with pointed, straight and curved 
tangs. Engraved on both sides with a coat-of-arms formed as a 
quartered shield charged with Imperial eagles. Original chamferred 
wood shaft. Very rare. (Shwartz) Length, 72 inches 


GENTLEMAN’S SWORD SPANISH, ABOUT 1580 
Long tapered and pointed blade partly grooved. Full cup and long’ 
bar guard. Carved bone grip and ball pommel. (Shwartz) 


ORIENTAL LONG FOLDING KNIFE 18TH CENTURY 
Tapered blade engraved with palmette decoration, inscribed at the 
hilt “Albarte Safe Sarrion.”” Ivory and brass scabbard. (Shwartz) 

Length, 45 inches 


OLD CARVED IVORY CEREMONIAL SWORD 
The hilt and scabbard of solid ivory elaborately carved with 
mediaeval decoration of figures, etc. (Asis) (Shwartz) 

Length, 40 inches 


SOLOMON ISLAND CLUB 

Of carved acacia wood, formed as the head of a hornbill, the native’s 
emblem of death. The haft bound round with cotton fabric. 
(Shwartz) Length, 27 inches 


PAIR OF DUELLING PISTOLS, IN CASE 

FRENCH, EARLY 19TH CENTURY 
Made by Aury a St. Etienne. Octagonal rifled barrels, percussion 
locks and finely shaped walnut stocks. Complete with tools. In 
brass banded walnut case. (Shwartz) 


OLD TWO HANDLED STATE SWORD 16TH OR 17TH CENTURY 
Long double grooved blade; loop and bar hilt, leather covered grip 
with ball pommel. (Shwartz) Length, 70 inches 


75 


193 


194 


195 


196 


LOT 


WHEELLOCK SPORTING MUSKETOON ITALIAN, 17TH CENTURY 
Heavy rifled octagonal barrel, wood stock and butt mounted in ivory. 
Flint hammer and wheellock engraved; with spanner. Fine con- 
dition. (Shwartz) Length, 44 inches 


EIGHTEENTH CENTURY PERSIAN MACE 
Six lobe head and richly damascened handle. Rare. (Shwartz) 
Length, 25 inches 


OLD FRENCH TURRET PISTOL 

Inventor’s model. This interesting type of small pistol was ex- 
perimented with by the United States Government in 1860 with 
disastrous results to the user. (Shwartz) Length, 834, inches 


PAIR OF HOLSTER PISTOLS FRENCH, CIRCA 1800 
By “‘Fleron a Paris’. Heavy bronze barrels, flint hammers and short 
curved wooden butts. Complete with ram rods. In good condition. 
(Shwartz) (2) 


SET OF SEVENTEENTH CENTURY ROTHENBURG CHASED 
SILVER HINGES, LOCK, KEYPLATE AND KEY 
Two handsome shaped strap hinges with repoussé and pierced de- 
coration of baroque foliage; a fine large lock and keyplate to match; 
also key. Handsome embellishments from a late Renaissance chest. 
Rare. *(Dervter) 36) 

Length of hinges, 21 inches; length of lock, 12 inches 


76 


FINE PAIR OF CUIVRE DORE APPLIQUES 
LOUIS QUINZE PERIOD 


[NUMBER 198] 


198 TWO CUIVRE DORE APPLIQUES OF THE LOUIS QUINZE 
PERIOD FRENCH, ABOUT 1735 
A very handsome pair of two-armed brackets composed of a rocail 
scroll from which rise floriated and pierced arabesques. Two candle 
arms with baroque bobeches and bulbous candlecups of which one 
pair is fluted, the other with reeded enrichments. Original parcel 
gilding. (Morgan) Height, 20 inches 


These appliques have been traditionally attributed to the craftman- 
ship of the Younger Caffieri by their owners. 


[SEE ILLUSTRATION | 


77 


199 ELABORATE ORMOLU TABLE ORNAMENT WITH MIRRORS 
AND FIVE ORNAMENTS FRENCH, ABOUT 1800 
A work of art, perfect in technique and refinement. It consists of a 
series of seven trays, those on either end semicircular, the others 
rectangular, fitting together and forming the setting for the five 
standing ornaments. Each of these trays stands on bracket feet and 
is framed by a heavy ormolu gallery, with perforated classic pal- 
metto and griffon pattern, of perfect balance and execution. The 
inside with heavy mirror glass. The five upright ornaments consist 
of a centrepiece, combining fruit basket and candelabra, of two fruit 
baskets, and two candelabra on either side. The centrepiece with 
round base and three female bacchantes holding up a basket to which 
seven candle-brackets are attached. The two following pieces consist 
of two seated amorini, with fruit baskets on their heads. The cande- 
labra at either end show winged Victories standing on low columns 
and upholding a four-light candelabrum. The whole set ormolu 
bronze of remarkably fine chiselling and gilding. 


Height of centrepiece, 281% inches; height of fruit basket, 19 inches; 
height of candelabra, 20 inches; length about 11 feet 


200 SHERATON INLAID SATINWOOD FOLDING CARD TABLE 
ENGLISH, ABOUT 1790 
Banded in rosewood; the semicircular top and frame with fine inlay 
of fan medallions in shaded holly. On tapered legs painted with 
palm leaves at the tops. Inside lined with green baize. Very fine 
quality. (Dennison) Diameter, 40 inches 
[SEE ILLUSTRATION ] 


78 


pene crcesepgrama 


FINE SHERATON SATINWOOD 
FOLDING CARD TABLE 


[NUMBER 200] 


201 MAHOGANY DAY BED ENGLISH, ABOUT 1790 
Frame of solid mahogany. Scrolled ends, low back panel and fluted 
and tapered square legs. Caned. (Dennison) 

Length, 6 feet 10 inches; width, 30 inches 


202 WILLIAM AND MARY INLAID WALNUT CABINET ON STAND 

ENGLISH, ABOUT 1690 

Finely veneered in large and small circular medallions of matched 

walnut bordered by inlaid stringing of holly, imparting to the piece 

a most attractive appearance. Fitted with small drawers surround- 

ing the centre locker and enclosed by a pair of rectangular doors. 

A long drawer in the frieze. On partly restored stand with drawer, 
spiral twisted legs, ball feet and curved stretchers. (Dennison) 

Height, 5 feet; width, 3 feet 5 inches 


[SEE ILLUSTRATION ] 


80 


WILLIAM AND MARY WALNUT CABINET ON STAND 
ENGLISH, ABOUT 1690 


[NUMBER 202] 


208 


2) 
v0 


EARLY GOBELIN TAPESTRY WOVEN IN PARIS ABOUT 1610 
“Diana Rejecting Otus.” From a set of the story of Diana by 
Dubreuil. This tapestry is an important specimen of the earliest 
productions of Mare de Comans and Francois de la Planche, who set 
up their tapestry looms about 1601 in that establishment which 
still houses the National French Manufacture. Since these two 
tapissiers came from Flanders, there is no wonder that in their 
earliest work a Flemish touch is noticeable, which sometimes causes 
their productions to be assigned to Brussels. About the French 
origin of the present tapestry there can, however, be no doubt. 


Felibien relates that the French artist, Toussaint Dubreuil designed 
cartoons for a “Story of Diana’. The present tapestry belongs to this 
set. Other sets woven from the same cartoons are in the Mobilier 
National in Paris, in the Royal Spanish Collection in Madrid, and in 
former Imperial Collection in Vienna. The Spanish tapestries are re- 
produced in Monzo-Canton, ‘‘Los Tapices de la Casa del Rey, Madrid, 
1919, and in Count Valencia, ‘‘Tapices de la Corona de Espana,” 
Madrid, 1903. They bear the mark ‘“F M’’, the meaning of which is 
somewhat obscure, and the mark “DMP”. The latter mark occurs also 
on tapestries, which by the ‘“‘double P” and the fleur-de-lys are authen- 
ticated as early Gobelin. The Madrid series is therefore early 
Gobelin without any doubt. The borders are different from that of 
the present tapestry. Renaissance acanthus spirals are introduced 
in the upper borders of the Spanish set, an indication of slightly later 
period, when under the influence of Pierre Lefevre Florentine styles 
were again encouraged in Paris. 


Of greater interest than the Madrid tapestries is the Diana series 
richly interwoven with metal in the former Imperial Austrian Collec- 
tion. Plate 165 in the publication of the Vienna tapestries by Baldass 
reproduces a tapestry exactly identical with the present one, border 
and design. This tapestry has the Paris mark, two ‘P’s” enclosing 
a fleur-de-lys, and two other marks, one formed by the letters “T”’ 
and “H,” the other, by the letters “F”’ and “M”’; the latter mark is 
also found in Madrid. 


Particularly interesting in the Vienna tapestry is the fact that the 
border design tallies exactly with that of the present tapestry with 
the only difference that in the former a plain disc replaces the coat 
of arms of the latter. 


The coat of arms of the present tapestry is not entirely clear. The 
yellow cross on red ground, found here in the first and fourth quarter 
of the shield, is the emblem of the Counts of Toulouse. The second 
and third quarters would be the arms of Lautrec if the lion were not 


82 


crowned. As the arms of Toulouse and Lautrec are very often 
associated, we may assume a mistake on the part of a weaver un- 
skilled in heraldry. The inshield, a rampant greyhound on blue, 
seems to be a northern coat of arms. Although a complete identifica- 
tion seems not to be possible, the coat of arms points to a Southern 
French noble family as the original owners of the tapestry. 


The tapestry shows no marks in the blue border save the initials 
“C R” in the lower right border. The Paris mark, which might be 
expected to appear at the left of the lower border must have dis- 
appeared. Since unexplained weavers’ marks such as this clearly 
distinguishable ‘“C R” or the monograms in the Vienna tapestry 
occur in early Gobelin tapestries, this mark proves nothing against 
the Parisian origin of the piece. 


The tapestry itself is in perfect condition, of unusually well preserved 
color and of excellent design, reflecting the style of the northern 
followers of the late Italian Renaissance. The trees and plants are 
executed with exquisite detail. The composition is well-balanced and 
harmonious. In the centre, Diana with her maidens meets the cortege 
of Otus, who stands in vivid discomfiture at the left. Large groups 
of trees are on either side; in the background is a landscape with a 
stag-hunt. The border shows classic figures in grisaille in the four 
corners, with hunting emblems and Flemish flower garlands on the 
sides. (Albright) 


Discussed in Hunter, ‘‘Practical Book of Tapestries’, pp. 140 and 267. 
Exhibited at the Albright Art Gallery, Buffalo, 1921. 
Size, 13 feet 6 inches x 12 feet 3 inches 


[SEE FRONTISPIECE | 
83 


204 


205 


206 


FINE CHARLES I NEEDLEWORK PANEL 
ENGLISH, EARLY SEVENTEENTH CENTURY 


[NUMBER 204] 


CHARLES I NEEDLEWORK PANEL 
ENGLISH, EARLY 17TH CENTURY 
Depicting farm life. To the right are children picking flowers from 
flower beds, and Ceres in mediaeval costume holding a palm leaf 
preceded by a pet dog. To the left harvesters in the fields, a young 
trumpeter blowing a horn and beyond two young lovers richly attired, 
in a flower garden with a fruit laden tree. Worked in long stitches of 
polychromed wools on a dark plum colored ground. (Halbmayr) 
| Size, 2714 x 9 inches 
[SEE ILLUSTRATION ] 


IMPORTANT GOLD AND SILVER EMBROIDERED DALMATICA 

MALTESE, LATE 17TH CENTURY 
On a warm rose satin ground, the centres occupied by vase shaped 
floriated volutes with leafy branches rising from their scrolls. 
Worked in a variety of basket weave stitches in gold and silver 
bullion. Multiple borders of climbing garlands and flowered scrolls. 
(Halbmayr) 


ENGHIEN TAPESTRY BANDEAU OF THE RENAISSANCE 
PERIOD FRENCH, ABOUT 1600 
The centre with a Bacchic satyr mask in a cartouche, to the right and 
left archaic compositions of fruit festoons and leaves woven in a 
fine point in dark greens, blues, orange and tans on a golden yellow 
and brilliant orange-red ground. (Halbmayr) 

Size, 1 foot 6 inches x 7 feet 7 inches 


84 


ANGELICA AND ROGER 
BY ANTOINE LOUIS BARYE 


[NUMBER 207] 


207 BRONZE GROUP BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Angelica and Roger’. The rescuing hero, Roger, mounted on his 
winged and dragon-footed steed, the Hippogriff, his arms about 
Angelica; below is the coiled form of the sea monster. A remarkably 
fine group expressing swift action and vigor. Reddish brown patina. 
Signed rather indistinctly on the base. On mottled green marble 
plinth. One of Barye’s finest groups. 
Height, 21 inches; length, 26 inches 
See illustration in Roger Ballu’s “L’Oeuvre de Barye’’, page 80, and 
Charles de Kay’s “Barye’, Fig. 53. 
Another interpretation of this romantic legend is that of “Perseus 


and Andromeda”’. 
[SEE ILLUSTRATION] 


85 


208 BRONZE EQUESTRIAN FIGURE BY ANTOINE LOUIS BARYE 


209 


210 


FRENCH, 1796-1875 
Gaston de Foix, wearing armour and mounted on a richly caparisoned 
charger. Fine statuesque modelling and brown antique patina. Signed 
on the oblong base. Mounted on polished mottled green marble 
plinth. Total height, 18 inches; width, 12 inches 


Gaston de Foix, Duc de Nemours, son of Marie of Orleans, the sister 
of Louis XII. Known as “The Thunderer” in Italy and won the battle 
of Ravenne, 1512, where he was killed. 

See illustration in Roger Ballu’s “L’Oeuvre de Barye’, page 44. 


SMALL BRONZE ANIMAL BY FRATIN 

“Reclining Tiger’. Exquisite small figure modelled in the rugged 

style of Barye. Signed “Fratin” on the oblong base. (Weis) 
Height, 134, inches; width, 534, inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


SMALL BRONZE BY ANTOINE LOUIS BARYE 

FRENCH, 1796-1875 
“Tortoise walking’. Fine intricately modelled small figure mounted 
on green onyx marble slab. Reddish-brown antique patina. 

Length, 3% inches 


BRONZE STATUETTE 
“Danseuse’. Signed, Renoa. Reminiscent of the dancing girl by 
Degas. (Solano) Height, 11 inches 


86 


HANDSOME PAIR OF RENAISSANCE TAPESTRY 
STUART ARMCHAIRS 


[NUMBER 212] 


212 TWO RENAISSANCE TAPESTRY STUART ARMCHAIRS 
Handsomely carved and shaped walnut frames on C scrolled supports 
and cross rails; scrolled and moulded arms and arm rests; backs and 
seats covered in sixteenth century Flemish tapestry designed with 
martial subjects and woven in brilliant crimsons, blues and golden 
yellows on a tan ground. (2) 


[SEE ILLUSTRATION ] 
87 


FINE RENAISSANCE TAPESTRY STUART SOFA 
[NUMBER 213] 


213 RENAISSANCE TAPESTRY STUART SOFA 

Handsomely carved and shaped walnut frame on C scrolled supports 
and cross rails; scrolled and moulded arms and arm rests; the seat 
and back covered in sixteenth century Flemish tapestry. The back 
with a picture of a royal bear-hunt in a vignette framed by seated 
putti flanked by winged mermaid-body caryatides supporting flower 
and fruit vases; the seal with two handsome youthful figures in 
arbors, one a lute player and the other a queen dressed as a huntress; 
the arbor is supported by slender female caryatides. 

Length, 50 inches 

[SEE ILLUSTRATION ] 


88 


214 


215 


216 


217 


218 


ITALIAN SEVENTEENTH CENTURY MONASTERY TABLE 
WITH INLAID MARQUETERIE 
Heavy framed top inlaid with emblems of the Passion at the centre. 
Arabesque motifs at the corners. On sturdy club and ring turned 
legs braced by broad flat stretchers. Fine quality. (Dexter) 

Size of top, 64 x 28 inches 


SIX ITALIAN SEVENTEENTH CENTURY MONASTERY CHAIRS 
Ladder backs with scrolled shaped slats; solid seats; turned front 
legs braced by scrolled and turned stretchers. It is said that each 
monk made his own chair which accounts for the slight difference in 
size. (Dexter) (6) 


CARVED WALNUT MONASTERY SIDEBOARD 

BRITTANY, 17TH CENTURY 
Enclosed by three moulded doors, the centre one carved with the pyx 
or monstrance; the two side doors carved with conventional medal- 
lions. Stiles and frieze carved with running borders of foliage. The 
top is of later date. A dignified example of old ecclesiastical furni- 
ture. (Dexter) Height, 32 inches; width, 5 feet 6 inches 


FINE LARGE SARUK MEDALLION RUG PERSIAN 
Best quality. Close even weave and short nap. The field sustains a 
large shaped medallion containing a beautiful compact design of 
flower sand leaves on geometrical stems, in brilliant colors on a ground 
of deep blue, centred by a smaller medallion which contains arabesque 
leaves and fleurettes in softer tones. The wide border contains a 
running meander vine of bold arabesque leaves alternating with 
flower shrubs and fleurettes on a ground of bright red, flanked by six 
narrow guard stripes in contrasting colors. A very handsome rug. 


(McGee) Size, 20 feet 2 inches x 14 feet 10 inches 
LARGE KERMANSHAH FLOWER RUG PERSIAN 


Beautiful specimen with fine design of shaped flower medallions 
representing peony and other blossoms occupying the whole field, in 
fine pastel colors on a ground of bright red. The wide border sustains 
similar medallions which contain flower and bird forms in similar 
colors, flanked by narrower borders and guard stripes. A narrow 
outer border of bright red. The rich color profusion and sumptuous 
design of this rug is reminiscent of the famous sixteenth and seven- 
teenth century specimens. (McGee) Size, 21 feet 6 inches x 14 feet 


89 


219 VERY FINE KASHAN MEDALLION RUG PERSIAN 
Extremely close weave and short nap. On the pale yellow field is 
superimposed a beautiful shaped oval concentric medallion filled with 
naturalistic peony and other blossoms on curved stems, in pleasing 
pastel shades on deep blue and bright red. At the corners of the 
field are sprays of flowers emerging from vases, in delicate colors. 
Magnificent border of arabesque leaves and peony blossoms in similar 
soft shades on a ground of deep blue; flanked by narrow guard stripes 
of diaper motifs in seal brown. (McGee) Size, 16 feet x 11 feet 


[SEE ILLUSTRATION] 
90 


MAGNIFICENT PERSIAN KASHAN MEDALLION RUG 


[NUMBER 219] 


220 


221 


222 


223 


HUNTING TAPESTRY FLEMISH, 16TH CENTURY 
Covered with small scale figure motifs of archers hunting bear. In 
the left foreground a clump of trees with a knight in mediaeval 
armour tightly clutching a tree trunk, and further on a turretted 
building with loggie, apparently a hunting lodge. To the right a 
deer hunt and verdure. The foreground is filled with the struggle 
of wild beasts and a quaintly rampant rabbit in densely foliated 
bushes. (Halbmayr) Height, 80 inches; width, 621% inches 


FLEMISH VERDURE TAPESTRY PANEL 
OUDENARDE, ABOUT 1680 
A delightful oblong hanging, remarkable for its well shaded tones 
and its harmonious scale of composition. The left and upper fore- 
ground with dense blue-green foliage screening a landscape with a 
mediaeval round-towered castle in the centre background. The 
centre and left foreground with tall bushes in bloom of rich golden 
yellow and orange-red. (Halbmayr) 
Height, 71 inches; width, 361% inches 


IMPORTANT NEEDLEWORK CHAIR SEAT AND BACK 
FRENCH, ABOUT 1720 
The back in petit point worked in a reserve with a delightfully com- 
posed pastorale; two young people in handsome costumes dancing to 
the music of a youthful piper who is dressed in a seventeenth century 
costume with a tall cone-shaped gold bordered black hat. Background 
of blue-green verdure. 
The seat in petit point with chinoiserie flowers flanking two birds 
in heraldic posture facing a flowered bush. Framework of arabesques 
of dark rose and two-tone tans. In need of slight repairs. 
Size of back, 24 x 25 inches; seat, 25 x 30 inches 


IMPORTANT NEEDLEWORK CHAIR SEAT AND BACK 
FRENCH, ABOUT 1720 
The back with a composition, in the spirit of Teniers, of card players 
in seventeenth century costumes; a lady in tight fitting blue bodice 
on a tall upholstered chair covered in gold and a gentleman in gold 
velvet on a chair covered in blue. The players’ table is covered with 
a green scalloped cover on which can be seen the tarots. Behind the 
lady stands an onlooker richly garbed in crimson, gold and blue with 
a feathered, cylindrical hat. Background of trees and bushes in 
bloom. The seat also in petit point with a composition of heraldic 
birds and flowers. Framework similar to preceding. 
Size of back, 24 x 25 inches; seat, 2414 x 29 inches 


92 


224 NEEDLEWORK CHAIR SEAT AND BACK ~ FRENCH, ABOUT 1720 


225 


226 


The back with a delightful composition in silk petit point in the style 
of Teniers the younger; a youthful lute player entertaining a rustic. 
The colors of this centre are felicitously chosen with its brilliant 
green table top surrounded by the multicolored tones of the garments. 
Background of floral sprays, and a creature of the air. 


The seat with an heraldic griffon among Persian arabesques in multi- 
colored silks of petit point and gros point on a cream colored ground. 
Framework of crimson, golden tan and blue arabesques on a brilliant 
canary-yellow ground. Shield shaped outlines. In need of slight 
repairs. Size of back, 17 x 16 inches; seat, 16x 1714 inches 


IMPORTANT NEEDLEWORK BACK AND SEAT WITH MOTIFS 
AFTER JEAN BERAIN FRENCH, ABOUT 1710 
The back, a large rectangular panel of petit point and gros point. 
To the right a canopy from which steps forth a lady in flowing blue 
garments with copiously feathered headdress. She is greeted by a 
juggler and a trumpeter both imaginatively conceived in Roman 
armour with fantastic headgears. Above, a youth in Phaeton’s char- 
iot. Background of Indo-Persian arabesques in multicolored threads 
on a dark brown ground. The seat an all-over pattern of uncommon 
multicolored arabesques surrounding a tropical bird. 

Size of back, 33 x 27 inches; seat, 2214 x 26 inches 


IMPORTANT NEEDLEWORK CHAIR SEAT AND BACK 
FRENCH, ABOUT 1710 
The back, a large rectangular panel occupied by a most decorous 
representation of Suzanna and the Elders. One perceives the chaste 
Suzanna in ample fur lined robes of gold and blue bathing her feet 
in a pool refilled from the horn of a Triton body fountain. Suzanna 
is approached by two venerable bearded elders. Background of a 
balustrade and fruit laden trees and bushes. To the left is placed 
a handsome ewer and basin on a flower grown ground. 
The seat with a La Fontaine fable in petit point. Framework of 
Indo-Persian arabesques in multicolored threads on a brown ground. 
Size of back, 30 x 27 inches; seat, 2514 x 30 inches 


93 


227 CHIPPENDALE CARVED MAHOGANY CABINET IN CLASSIC 
STYLE 
In two parts, the upper part fitted with adjustable shelves and en- 
closed by a pair of doors with bevelled clear glass panes. Cupboard 
base enclosed by a pair of chamferred panel doors. The doors have 
finely carved Greek fret borders with small rosettes intersecting. 
Surmounted by a moulded pediment in architrave form which lifts 
off. (Buchanan) 
Height, 8 feet 10 inches; width, 3 feet 9 inches; depth, 18 inches 


Companion to the following cabinet. 


[SEE ILLUSTRATION ] 


228 CHIPPENDALE CARVED MAHOGANY CABINET IN CLASSIC 
STYLE 
(Buchanan) 
Height, 8 feet 10 inches; width, 3 feet 9 inches; depth, 18 inches 
Companion to the preceding cabinet. 


94 


FINELY CARVED CHIPPENDALE MAHOGANY CABINET 


[NUMBER 227] 


VERY FINE RENAISSANCE WALNUT SETTEE 
COVERED IN RARE FLEMISH TAPESTRY 


[NUMBER 229] 


229 FINE RENAISSANCE WALNUT SETTEE COVERED IN SIX- 
TEENTH CENTURY FLEMISH TAPESTRY 
A dignified piece with fine proportions. The straight back and seat 
covered with two very fine panels of Flemish Renaissance tapestry, 
the back panel woven with birds, flowers and terminal figures form- 
ing a cartouche supported by kneeling figures and rich groups of 
flowers and fruits in fine colors. The seat panel shows a rich baroque 
pattern of foliage, flowers and fruit. Walnut arms slightly scrolled, 
front stretcher pierced in chain fashion, the straight square legs 
standing on low brace with carved claw feet. (Albright) 
Width, 5 feet 6 inches 
[SEE ILLUSTRATION ] 


96 


TWO OF AN IMPORTANT SET OF TEN RENAISSANCE 
WALNUT CHAIRS COVERED IN OLD FLEMISH TAPESTRY 


[NUMBER 230] 


230 IMPORTANT SET OF TEN RENAISSANCE WALNUT CHAIRS 
COVERED WITH FLEMISH SIXTEENTH CENTURY TAPESTRY 
Four armchairs and six side chairs. The square backs and seats 
covered with panels of fine sixteenth century tapestry woven with 
groups of figures, exotic flowers and fruits in the rich style of the 
Renaissance. Carved and gilt acanthus finials ornament the back. 
Sturdy frames of carved walnut. A most dignified set of Renaissance 
chairs of fine quality. (Albright) (10) 


[SEE ILLUSTRATION | 
oF, 


231 


“ABRAHAM AND ISAAC WELCOMING REBECCA,” EARLY 
BRUSSELS TAPESTRY WOVEN ABOUT 1520 FROM A SET OF 
THE STORY OF ISAAC AND REBECCA AFTER CARTOONS BY 
BARENT VAN ORLEY 

Probably woven for the Van Ameyde family. 

This tapestry, with the following one, has formerly been attributed 
to Jan Mabuse (1474-1556), but a comparison with the well-known 
tapestries of the “Hunts of Maximilian” and of the “Battle of Pavia” 
by Barent van Orley (1490-1542) makes the ascription to the latter 
great tapestry designer almost a certitude. Such ascription has 
been advocated by Hunter in his “Practical Book of Tapestries’, 
page 127. 


Both compositions must have been woven before 1528, when the 
marking of Brussels tapestries became compulsory by law. Barent 
van Orley seems to have had business connections with both of the 
two foremost Brussels weavers, Pieter Van Aelst and Pieter Panne- 
maker. We may therefore safely ascribe the tapestry to one of 
these two master-weavers. 


The religious subject is only a pretext. The composition portrays 
with delightful realism the meeting of a cavalier of the period with 
his chosen bride, receiving the paternal benediction. The young pair 
stands in the foreground under the benign eye of the venerable 
father of the young man, surrounded by the ladies-in-waiting of 
the bride, pages and retainers, on foot and on horseback. Of partic- 
ular interest is the group to the right: two stately cavaliers stand- 
ing near the palanquin carried by two horses, in which the bride 
has arrived. In the background is a beautiful landscape with out- 
look on a medieval city in which may be seen a western rendering 
of the picture of Jerusalem with the Dome of the Rock. The cos- 
tumes of gentlemen and ladies, some of them still with rich pome- 
granate patterns, are executed with delightful detail and form a 
most valuable illustration for the history of costume and manners 
of the early sixteenth century. 


Of particular interest are little details hitherto unobserved by 
students of the tapestry. The three poles supporting the roof of 
the palanquin end in round ornamental discs decorated with lozenge- 
shaped coats of arms. This shape ought to have attracted the at- 
tention of former students of this tapestry, for it is the shape used 
by unmarried ladies, and therefore appropriate for the palanquin of 
a bride-to-be. Each of the three shields is quartered. The second 
quarter shows a design of three yellow crescents on blue. In the 
fourth quarter, below a yellow band are three white stars on blue. 


98 


ABRAHAM AND ISAAC WELCOMING REBECCA 
RARE EARLY BRUSSELS TAPESTRY WOVEN ABOUT 1520 


[NUMBER 231] 


This looks like a deliberately given oriental touch, but close examina- 
tion reveals that the four quarters are perfectly well identifiable 
arms of which three are Dutch and the fourth of Nurmberg but, as 
the linguistic form of the name indicates, of Dutch origin. The 
identification follows: 


First quarter, Van Ameyde (Dutch): sable, two pales gold. 


Second quarter, Van Couwenhoven (Dutch): azure, three crescents 
tournés. 


Third quarter, Van Brandwyk (Amsterdam): silver, six cubes or 
billets gules. 


Fourth quarter, Kalterbeek (Nurmberg): azure, three stars silver, 
a chief gold. 


The name Kalterbeek is low German (Dutch). The Southern German 
equivalent would be Kaltenbach. 


It is, to put it mildly, a strange coincidence that on the hat of young 
Isaac is a medal with a motif that is seemingly formed by an inter- 
twined “V” and “A”, which would be the initials of Van Ameyde. 
The study of these interesting heraldic details permits us to con- 
clude that this set of tapestries has probably been woven for the 
Van Ameyde family, perhaps on the occasion of a matrimonial alli- 
ance of that family. 


The border shows the typical early Brussels design with garlands 
of foliage, fruit and flowers at top and bottom; on the sides a blos- 
soming iris, sweet peas, oranges, hollyhocks, a melon vine and 
columbines form a delightfully varied succession. (Albright) 
Height, 12 feet 4 inches; length, 18 feet 9 inches 


Exhibited at the Albright Art Gallery, Buffalo, 1921. 


[SEE ILLUSTRATION PAGE 99] 
100 


232 


233 


234 


GOTHIC CARVED OAK CHEST FRONT ~— FRENCH, 15TH CENTURY 
Very fine example of late Gothic or early Renaissance carving and 
very well preserved. Divided into three narrow panels of diaper 
zigzag pattern in delicate intaglio carving, intersected by mouldings 
carved with conventional acanthus leaf or feather motifs. Very 
adaptable as overmantel for a Gothic room. (Dexter) 

Height, 35 inches; width, 49 inches 


SECTION OF CARVED PANELLING BRITTANY, 15TH CENTURY 
Comprising three narrow panels richly carved with arabesques in low 
relief framed by moulded stiles similarly carved. Choice example 
of late Gothic carving. (Dexter) Height, 34 inches; width, 48 inches 


GOTHIC CARVED CHEST FRENCH, 13TH CENTURY 
A museum piece in good condition considering its great age. The 
front ornamented with three panels of primitive carving in the form 
of conventional rosettes or sunbursts, surrounded by carved fluting 
on the horizontal and vertical stiles. Panelled ends and domed lid 
with the original hinges and lock. (Dexter) 

Height, 30 inches; width, 45 inches 


101 


235 


“ELEAZER ASKING REBECCA’S HAND FROM BETHUEL,” 
EARLY BRUSSELS TAPESTRY WOVEN ABOUT 1520 FROM A 
SET OF THE STORY OF ISAAC AND REBECCA AFTER CAR- 
TOONS BY BARENT VAN ORLEY 7 


Probably woven for the Van Ameyde family. 
This tapestry, as the design of centre field and border shows, be- 
longs to the same set as the preceding one. 


In the centre of the picture Eleazar is shown greeting Bethuel, who 
is seated on a throne in sumptuous flowing robes. The back of the 
throne shows an almost over-rich Renaissance decoration. A bed is 
seen at the right, and at the left windows open into a luxuriant land- 
scape. Retainers, pages, etc., are grouped about the main figures 
of the composition. A youthful female figure in the foreground 
may represent Rebecca. 


Above the door at the left is a quartered coat of arms, which must 
have been bungled by the weaver, for it cannot be identified. Some 
elements of it are found in the arms of the Kuipers family of Leeu- 
warden, Holland. The vague possibility of its pertaining to that 
family may be of interest to compare with the finds concerning the 
arms of the preceding tapestry. (Albright) 

Height, 12 feet 7 inches; width, 13 feet 9 inches 


Exhibited at the Albright Art Gallery, Buffalo, 1921. 


[SEE ILLUSTRATION] 
102 


ELEAZER ASKING REBECCA’S HAND FROM BETHUEL 
RARE EARLY BRUSSELS TAPESTRY WOVEN ABOUT 1520 


[NUMBER 235] 


236 


FINE PAIR OF BRONZE CANDELABRA 
BY ANTOINE LOUIS BARYE 


[NUMBER 236] 


PAIR OF BRONZE SIX-LIGHT CANDELABRA BY ANTOINE 
LOUIS BARYE FRENCH, 1796-1875 
The stems formed as stags sharpening their horns against tree trunks 
with hart and fawns seated around. Each with six scrolled branches 
for candle lights, surmounted at the centres by eagles attacking 
hares. The oval bases have lizard supports. Signed ‘“Barye” in 
two places, also “‘Barbedienne Fondeur”’. (Weis) (2) 

Height, 2214 inches 


This extremely fine pair of candelabra rank among Barye’s best 
works, and are a slight variant of the pair illustrated in Roger 
Ballu’s, “L’Oeuvre de Barye’’,, page 89. 

Exhibited at the Delgado Museum of Art, New Orleans. 


[SEE ILLUSTRATION ] 
104 


237 


238 


STANDING STAGS 
BY ANTOINE LOUIS BARYE 


[NUMBERS 237 AND 238] 


BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Standing Stag”. Full grown spike-horn stag standing in an alert 
attitude, its head raised as if scenting the approach of an enemy. 
Signed “Barye, 1838” on the base. (Weis) 
Height, 7 inches; width, 614, inches 


Exhibited at the Delgado Museum of Art, New Orleans. 
[SEE ILLUSTRATION ] 
BRONZE ANIMAL BY ANTOINE LOUIS BARYE 
FRENCH, 1796-1875 
“Standing Stag’’. Its head raised as if calling for its mate. Modelled 


with extreme grace and lithesomeness. (Weis) 
Height, 6 inches; width, 614, inches 


Exhibited at the Delgado Museum of Art, New Orleans. 
[SEE ILLUSTRATION ] 


105 


POINTER AT STAND 
BY P. J. MENE 


[NUMBER 239] 


239 BRONZE ANIMAL BY P. J. MENE FRENCH, 1802-1875 
“Pointer at Stand”. The body in half crouched position expresses 
the nervous tension of a well trained pointer awaiting the word of 
command. Heavily foliated oblong base, signed “P. J. Mene”’. On 
plush covered stand. (Weis) Height, 414 inches; width, 12 inches 


Exhibited at the Delgado Museum of Art, New Orleans. 
[SEE ILLUSTRATION ] 


106 


i: a a 


240 BRONZE ANIMAL BY P. J. MENE FRENCH, 1802-1875 
“Pointer with Head Turned”. In running attitude, the head fully 
turned to the right as though arrested in its flight by a strange 
sound. Signed “P. J. Mene” on the foliated base. (Weis) 

Height, 434, inches; width, 8% inches 


Exhibited at the Delgado Museum of Art, New Orleans. 


241 BRONZE STATUETTE OF MEISSONIER BY N. GEMITO 
CONTEMPORARY ITALIAN 
A remarkably well sculptured standing figure of the famous painter 
holding palette and crayon. Signed. (Solano) Height, 23 inches 


242 SILVERED BRONZE STATUETTE BY N. GEMITO 
CONTEMPORARY ITALIAN 
Nude figure of a young boy with water jar, surmounting a fountain. 
Inscribed “Dall Originale Propta, del Redi Napoli S.M. Francesco IT’. 
Signed. (Solano) Height, 21 inches 


243 JAPANESE BRONZE MODEL OF A LION 
Finely modelled representation of the king of beasts giving vent to a 
defiant roar. (Solano) Length, 18 inches; height, 12 inches 


107 


244 


245 


FOUR EARLY TEXTILES VENETIAN, 18TH CENTURY 
(a) Runner woven in soft tones with a design of Persian flowers and 
arabesques in silver thread heightened with rose on a brocaded 
ground of jade green satin furnished with designs of snow white 
leaves; trimmed in contemporary silver galloon. (b) Embroidered 
mantle of the Bambino; of cafe au lait colored silk with diapers of 
Byzantine crosses embroidered with a monstrance of gold enriched 
with fine pearls, above a group of oak leaves embroidered in bril- 
liantly colored silks and husks of gold spangles. (c) Brocaded 
mantle of the Bambino worked with silver ribbands and floral bou- 
quets in the Persian taste on a pekined pale blue Silk. (d) Coat of the 
Bambino of figured Directoire cut and uncut velvet of a deep rose 
hue woven with climbing husks forming wreaths from which are 
suspended scalloped circular lockets with sprays of carnations in their 
reserves; gold lace trimming. (Halbmayr) 


EMBROIDERED HALF CHASUBLE VENETIAN, ABOUT 1740 
On a delightful rose du barry ground are embroidered baroque corn- 
ucopia volutes of silver from which rise a multitude of gayly colored 
garden flowers of silk with leaves, stems and centres of silver. Silver 
galloon trimming. (Halbmayr) a 


108 


TWO GOBELIN TAPESTRIES OF GREAT IMPORTANCE AND 
HISTORICAL INTEREST 

“Les Nouvelles Indes” (New Indian hangings). 

Two of a set of four executed under the direction of James Neilson, 
1749 to 1788 after the cartoons of Alexandre Francois Desportes, 
1661 to 1743, figuring in the inventory of the Gobelins as gifts to 
the Grand Duke and Grand Duchess of Russia (the future Emperor 
Paul I and son of the great Catherine.) The Indian Hangings were 
among the most favorite creations of the Gobelins and reappeared 
in various compositions, colors and with changed borders under the 
changing directions of the Gobelins. They were considered gifts for 
royalty par excellence. The third border appearing on both tapes- 
tries was probably designed by Jacques, “ornemaniste” at the Gob- 
elins. It was composed of a bold exterior ribbon and interior trellis 
moulding with shell and oakleaf spandrels with a cresting of a fleur- 
de-lys cartouche flanked by eagle wings. 

The tapestries are mentioned in ‘Etat General des Tapisseries de 
La Manufacture des Gobelins” by M. Maurice Fenaille on page 62, 
“The Camel, second series, Begun July 17th, 1772, Idem, Neilson’s 
Ateliers,” etc., also on page 65 as follows :— 

“In 1782 the Grand Duke and Grand Duchess of Russia who travelled 
in France under the name of Count and Countess du Nord received 
with other presents of Sevres porcelains and tapestries, a hanging 
of four pieces of the Indies”. And on page 66:— 


“According to the account of Manufactury and the Inventory of the 
Gobelins the pieces of Indian Hangings given to the Grand Duke of 
Russia seem to be the following :— 

‘Le Chameau’, second series, terminee en 1774 

‘Le Cheval raye’, first series, terminee en 1774 

‘Le Combat des Animaux’, first series, terminee en 1779 

‘Les Pecheurs’, fourth series, terminee en 1781.” 


In 1900 these pieces existed in Saint Petersburg in the Imperial 
Palace. 


James Neilson worked at the Gobelins as a master weaver with 
Cozette, Le Blanc and Audran. He was considered one of the most 
capable and inventive weavers. He immensely improved the methods 
of weaving and dyeing to bring tonalities and drawing of tapestries 
close to the cartoons. He was principal at the School of Instruction 
at the Gobelins. 


From the collections of Count Scheremietjev and Baron Ropp. 


109 


246 LE CHAMEAU 
(Second Series, Third Borders) 
To the right appears a gray charger with silver-white mane richly 
harnessed with jewelled straps and pendants. A cover of Persian 
gold and crimson embroidery is thrown over its back. It is attended 
by a young Moor in loose fitting garment of blue trimmed gold. In 
the foreground are a brightly colored flamingo, an ibis and a snow 
white llama. To the left surrounded by a wealth of tropical growth 
and fruit a dromedary on whose hump is humorously perched a 
small monkey holding an apple. In the very foreground a stream 
of carp and goldfish. The centre background is occupied by a lux- 
uriantly overgrown apple tree with cockatoos perched upon its 
branches. Against the sky one sees a bird in flight. The tapestry 
is signed in the right hand corner, Neilson ex 1774. (In “Les 
Anciennes Indes” an Indian was put on the horse’s back in the 
monkey’s place.) Borders as described above. Illustrated in Hunter 
(1925), “Practical Book of Tapestries”, plate XII E. (De Ballagio) 
Size, 14 feet 5 inches x 12 feet 3 inches 


[SEE ILLUSTRATION ] 
110 


LE CHAMEAU 
VERY IMPORTANT GOBELIN TAPESTRY OF 


GREAT HISTORICAL INTEREST 


[NUMBER 246] 


247 LE COMBAT D’ANIMAUX 

(First Series, Third Borders) 

An awe-inspiring phantasmagoria of jungle life with golden brown, 
spotted and white bodies of lions, tigers, stags, deers and tapirs 
intertwining their bodies in their struggle for survival while above 
their heads among palm and fruit trees soar an eagle and owl and 
brightly colored birds of the tropics in a spirited melee. Signed in 
the right hand corner, Neilson, 1779. The selvage bears also the 
signature of Neilson, the fleur-de-lys and the date. Borders similar 
to preceding. (De Bellagio) Size 14 feet 5 inches x 14 feet 7 inches 


[SEE ILLUSTRATION ] 
1g 


LE COMBAT D’ANIMAUX 
VERY IMPORTANT GOBELIN TAPESTRY OF 
GREAT HISTORICAL INTEREST 


[NUMBER 247] . 


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This catalogue designed by The Anderson Galleries 


Composition and press-work by 
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